ldquoI Have Suffered With Those That I Saw Sufferrdquo

Proximity Trauma and Shakespearersquos Tragic Women

By

Cody Ganger

A Thesis Submitted to the Department of English

California State University Bakersfield

In Partial Fulfillment for the Degree of Masters of English

Winter 2016

Copyright

By

Cody Ganger

2016

Ganger2

TableofContents

Prologuehelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 3

Act1LayingaFoundationBackgroundandTheoryhelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 6

Act2TheWomenandWoundsof Titus Andronicushelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip22

Act3One ManTwoFathersPsychologicalTraumaandtheSisterof King Learhelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip31

Act4WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation fromVillaintoVictimhelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 42

Act5Final ThoughtsandFutureResearchhelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip59

Bibliographyhelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip66

Ganger3

Prologue

Inthesummerof2009Iplayed Regan ina productionof King Lear andasIworked

onandrehearsedthischaracter Ifeltagreatdealofheartbreakdesperationandempathy

forherIwascaptivatedbythe characterandtheplayasawholeWhenIbegantheEnglish

GraduateprograminWinter2014 andwasaskedtochooseoneclassicworkof literature

tofocusoninEnglish500Iquicklychose King Lear withtheintention ofresearching

scholarlymaterialonthethree womeninthe playWhatIquicklyrealizedwasthatthereis

awealthof scholarshipfocused onCordeliabutverylittlefocusedonGoneriland Regan

AnymentionofLearrsquos elderdaughtersarealwaysasone‐dimensionalfoilstoCordeliaand

alwaysoccuroff‐handedlyalmostasafootnotetowhat theauthorfindsactually

interestingmdashCordelia DouglasParkerrsquosarticleldquoTheThirdSuitorin King Lear Act1Scene

1rdquogetsclosetoprovidingsome true insightintoGonerilandRegan whenhedescribeshow

similarthey aretotheir father(140)However beforehecan analyze themwithanyreal

depthhestatesthatheagrees withtraditionalscholarswhobelieveldquoGoneriland Regan

areuntrustworthyingeneraland insensitivetohumanneedsand feelingsrdquo(144) Thiskind

ofsurface‐levelglossingoverof the elderdaughtersmademeinterestedindoingfurther

researchintotheircharacters

Thereseemstobeageneralresistancetohumanizingor analyzingthe motivations

andinnerlivesoftheseldquoevilrdquo womenInmyopinion ifShakespeare wrotesuchafully

developedcharacterin Cordelia whoonlyappearsalive infour scenesoftheplaysurely

hedidnotintendthemajorcharactersofGonerilandRegancharacterswhodrivesomuch

oftheactiontobeviewedinsuchashallowlightThescholarshipgenerallypointstothe

Ganger4

assumptionthatGonerilandRegan areattheoutsetofthe play(and presumablyfrom

birth)evilIbegantoaskmyselfhowmuchare theyalsovictims

BecauseIhadapproachedtheplayasanactorseekingtobringrealitytothe

characterI playeditseemedobvioustomethatGonerilandReganhaveexperienceda

traumaticemotionalwoundbefore theplaybeginsbybeingraised withtheknowledge

thattheirfatherlovestheiryoungestsisterbestHowdoesthistraumaimpactandshape

themwithoutexcusing themfrom thehorrendousdeedstheycommitReflecting onother

womeninShakespearersquostragedies IbegantoseeatrendintraumaticexperiencesIt

seemedlikeldquogoodrdquowomen(ieCordelia OpheliaLavinia)experience theirtrauma

onstagein frontofthe audience andthenprocessit inasympathetic wayasa victimOn

theotherhandldquoevilrdquowomen(ie GonerilReganLadyMacbethTamora)experiencetheir

traumaoffstageorbeforetheplayhasbegunwithapparentlydevastatingconsequencesto

theirmoral characterI becameinterestedintheextent towhichonecanhumanizejustify

orotherwiseanalyzethe innerlivesof Shakespearersquosldquoevilrdquowomenandhowthenatureof

acharacterrsquostraumainformstheir portrayalasvictimor villain

FurthermoreIbecame interestedinwhetherthefieldofstudy changestheway

thesecharactersareinterpretedWasmyview asanactor sodifferent fromthegeneral

scholarlyconsensusbecauseofa fundamentallydifferenttrainingandphilosophyof

approachingthetextCertainlythefieldsof Shakespeare asliteratureandShakespearein

performanceshouldnotbesofarremovedthattheir approaches and conclusionscannot

supplementoneanotherScholarly readingsofShakespearemayenhanceperformances

andperformancesmay informandguidescholarlyreadings

Ganger5

Thisquestionhassince clarifiedafterayearof furthermeditation andresearch

HereIintendtoseparateShakespearersquosfemalecharacters into two archetypesmdashthevictim

andthevillainShakespearersquosplays Macbeth Titus Andronicus and King Lear areideal

subjectsforthisanalysisbecausetheyare allplaysinwhich botharchetypesexistside‐by‐

sidewhosetraumascanbeeasilycomparedThroughanexplorationofmoderntrauma

andperformancetheoryIproposeanewreadingof the playsrsquofemalecharacterswherein

theaudiencersquosproximitytothe charactersrsquotraumasaffectstheirempathyforthe

characters re‐affirmingthesearchetypes

Ganger6

Act1

Laying A FoundationBackground andTheory

Cathy Caruthrsquosgroundbreaking1996work Unclaimed Experience Trauma

Narrative and History setstheprecedentfor traumatheoryasit isknowntoday Although

morecurrentscholars1 haveupdatedandcorrectedaspectsofhertheoriesto account for

morecurrentpsychologicalresearch Unclaimed Experience remains seminaltotheliterary

studyoftrauma

ThetermldquotraumardquofromtheGreekoriginallyreferredtoaphysicalinjuryor

woundalthoughFreudrsquosworkre‐defined theterm asldquoawoundinflictednotuponthebody

butuponthemindrdquo(Caruth3)CaruthusesFreudtoestablishherpremisethatatraumatic

eventthatoccursinisolation isprocessedinsuchawaythat causesprolonged

psychologicalsuffering different thanthatwhichdoesnotoccurinisolationThefollowing

excerptexplainshowCaruthcametothisconclusion

Inthethirdchapterof Beyond the Pleasure PrincipleFreuddescribes apatternof

suffering thatis inexplicablypersistent in thelivesofcertain individualsPerplexed

byterrifyinglyliteralnightmaresofbattlefield survivorsand therepetitive

reenactmentsofpeoplewhohaveexperienced painfuleventsFreud wonders at the

peculiarandsometimesuncannywayin whichcatastrophicevents seemtorepeat

themselvesforthosewhohavepassedthroughthem(1)

1 HarvardUniversityprofessorof psychologyRichardMcNally attacks Caruthrsquos claims of traumatic amnesia (a topic thatI amnotworkingwithinthispaper)but hisemphasisis inreal‐world psychology whereas Caruthwrites aboutliterary charactersBostonUniversitylecturerinthehumanities JoshuaPedersonrsquos revisedtheory isamorevaluableresourceforupdating Unclaimed Experiencebuthisarticle merelyexpands uponCaruthrsquos workwithoutattempting to discreditit

Ganger7

CaruthinterpretsFreudrsquosldquorepetitivereenactmentsrdquoasldquoahuman voicethatcriesoutfrom

thewoundrdquo(3)Asthesubtitle ofherbooksuggestsCaruthemphasizespersonal

narrativemdasheachldquowoundrdquoisastory thatneeds tobetoldbythe person whoexperiencesit

Ofcoursethisalsoimpliesthat thesuffererneedsalistenerawitnessanaudiencetohear

hisorherstoryHertheoryasserts thathiddentraumaneedstobeexpressedinorderfor

thesufferertobeabletohealandnotreplaytheviciouscycleForShakespearersquos

characters performancesprovide aphysicalliteraloutletfor thistheorytoplayout

Charactersrsquo traumaticexperiences eitheroccuronstageor offstage eitherhiddenfromthe

audienceor sharedwiththeaudienceThose characters whosetraumasarehiddenfrom

theaudiencecryoutfromthewoundthroughtheiractionswithouteverbeingheard

whereas thosecharacterswhosetraumasare sharedwiththeaudienceescapethefate of

repeatingthemandusuallyfind someformofhealingorveneration

Theremay besomequestion asto whethermoderntraumatheorycaningood

consciencebeappliedtoclassicalcharacters Menachem Ben‐EzraprofessorattheSchool

ofSocialWorkatthe ArielUniversityCenterofSamariainhisreviewofliterarytrauma

identifies thevalidityofapplyingmoderntheory toancient texts findingsubstantial

evidence for psychologicaltrauma datingback toantiquityHe even pointstosleep

disordersinShakespeareas asymptomofPTSD(235)Thisisa directexamplefromoneof

theplaysunderanalysisin this papermdashLady MacbethrsquosfamoussleepwalkingsceneBen‐

Ezrarsquosarticlefocusesonclassicliteraturemoreasproofthat post‐traumaticstressisa

conditionthathasexistedsince antiquityand lessasastudy oftheliterarycharacters

themselves

Ganger8

ApplyingthesetheoriestoShakespearersquoscharactersrequiresa certainamount of

psychoanalysisoratleasttheadmission thatfictionalcharactershavesufficient

psychologicalcomplexitytoreadastraumasufferersScholars have beendividedonthe

answertothisquestionsince the early20th century

LCKnightsaShakespearescholarwriting in the1930s reactedstronglyagainst

whatheconsideredthe then‐populartrendof over‐emphasizingShakespearersquos

psychologicalrealismneglecting whatKnightsconsideredfarmoreimportantmdash

Shakespearersquospoetry HisfamousessayldquoHow ManyChildrenHadLadyMacbethrdquodirectly

arguesagainstthecriticismthatconcerns itselfwithShakespearersquoscharactersand

especiallyagainstthosethatworkunderthepremisethatShakespearersquoscharactersare

ldquorealpeoplerdquoHisassertion

TheonlyprofitableapproachtoShakespeare isaconsideration of hisplaysas

dramaticpoemsofhisuseoflanguagetoobtainatotalcomplexemotional

responseYetthebulkofShakespearecriticismisconcernedwithhischaractershis

heroineshisloveofNatureor hislsquophilosophyrsquomdashwitheverything inshortexcept

thewordson thepagewhichitisthemainbusinessof the critictoexamine(11)

Hisessaycriticizeshis contemporariesespeciallyEllenTerry anactressandscholarwho

inherlecturesldquoexercisesextensivelsquoanterior speculationrsquoby asking questionslike

lsquowhetherPortiaorBellariothoughtofthefamousquibblersquo orlsquohowdidtheBoyin HenryV

learntospeakFrenchrsquordquo(Knights3)ECPettetnicelydefinesthis termldquoanterior

speculationrdquoastheldquocriticalgameofconstructingaworld outsidethe givenmaterialofthe

playrdquo(192)Pettetwas writingthirtyyearsafterKnights and yethisbook Shakespeare and

Ganger9

the Romance Tradition holdsfirmlytoKnightsrsquosauthorityinhowtoapproacha

Shakespeareantext

KnightsmarksavitalriftinthefieldofShakespearestudiesHisinfluenceshould

notbeunderestimated LeonardF Deanrsquos1958articleldquoMacbeth andModernCriticismrdquo

describesKnightsrsquosarticleasa majormovementinShakespeareancriticismand Norman

Hollandrsquosbook Psychoanalysis and Shakespeare callsKnightsrsquosessaytheldquolocus classicusrdquoof

Shakespearestudies(296)Today criticslike Pascale Aebischerin Shakespearersquos Violated

Bodies Stage and Screen Performance continue touseKnightsrsquosframeworktodismiss

performersrsquotendencies totreat the characters asrealpeople AebischerobservesldquoAs

recentproductionsof King Lear showthetype ofreading that in academiawas discredited

byLCKnightsaslongagoas1933 seemstothrive intodayrsquos mainstreamtheatre that

generallyseemstobecenteredon lsquotruthfulrsquocharacterratherthanplotrdquo(176)Idonrsquot

understandwhythetwoaremutuallyexclusivebutitappearsthatthereis a riftinhowwe

thinkaboutShakespearemdashone thatif Aebischerrsquoscommentsareany indication arerife

withcondescension for theopposingopinion Knightsrsquosessayheavy withcondescension

itselfmay havebeen thedivisive workthatdrewasharp line betweenShakespeare‐as‐

LiteratureandShakespeare‐as‐Performancea linethat stillexiststodayHislegacyhaunts

performersandotherShakespeareanscholarswhoseoftenmorehumanized three‐

dimensionalinterpretationsofShakespearersquos characters aredismissedaschildish

imagination

ThoughKnightswould certainly balkatmyquestionsabouttraumaand

ShakespearersquoscharactersEllen Terryandthecriticsthatalso viewShakespearethrough

thelensof performancewouldlikelyagreethatShakespearersquoscharactersarevalid

Ganger10

candidates forpsychoanlysisSomeofthesecriticswritingthroughoutthelastcentury

includeJohnRusselBrownandArthurColbySpraguewhowerebothwritinginthe1960s

contemporariestoDean and PettetandarguedthatShakespeare cannotbeseparated from

performanceand insistedthathisrealhumancharacterswere themostimportantaspect

ofhisplaysontheElizabethanstage

Perhapsthemostwell‐knowncriticinthistraditionpolarizingashis extremeviews

maybeisHaroldBloomauthorof Shakespeare Invention of the HumanAshis title

suggestsBloomarguesthatShakespeare inventedcharacterpersonalityandWestern

identityasitisunderstoodtodayKnightsrsquosmainargumentis thatShakespeareshouldbe

studiedprimarilyasa poetThoughBloomadmitsShakespearersquos linguisticsuperiorityhe

holdsthatShakespearersquospoetry isnotwhathasmadehislastingimpactItrsquosthe people in

hisplaysmdashhischaractersmdashthathaveaffectedcivilizationandshaped Western culture

Bloomjustifieshispriorityof characterbyexplainingthatldquo[Shakespearersquos]few peersmdash

HomertheYahwistDanteChaucerCervantesTolstoyperhaps Dickensmdashremind usthat

therepresentationofhumancharacterandpersonalityremainsalwaysthesupreme

literaryvaluewhetherin dramalyricornarrativerdquo(3‐4) Inotherwordstheelementthat

makesaworkofliteratureendure throughthecenturiesthatmakesanimpacton history

isprimarilytheportrayalofhumanityandcharacterHow could Bloomdisapproveof

applyingtraumatheorytoShakespearersquoscharacterswhenheviewsthemassuchcomplete

andrealpeople

Unfortunatelythedividebetweenliteratureandperformancepersists even with

BloomInhisstudyofShakespearersquosplaysheforgetsorignoresthatthemediumof

performanceisas importantaway ofexperiencingandstudying Shakespeareas isreading

Ganger11

fromthepageOf King LearBloomsaysldquoIemphasizereadingmore thaneverbecauseI

haveattendedmanystagingsof King Lear andinvariably haveregrettedbeingthereOur

directorsandactorsaredefeated bythisplayandIbeginsadlytoagreehellipthatweoughtto

keeprereading King Lear andavoiditsstaged travestiesrdquo (476)This argument is patently

illogicalSimplybecauseonehas neverseen a performancethat meetshisorher

expectations doesnotjustifydivorcingthehistoricalreality thatShakespearersquosworkswere

originallyperformed King Learorevenfarmoredifficultplaystostageintodayrsquos world

likethe Henry VI trilogyshouldstillbeapproachedwiththemindset thatperformancewas

necessarytotheplayrsquosoriginand istherefore necessaryto itsinterpretation

Thisisnottosaythatactorsanddirectorsarenotoftenguiltyofleaningtoofartothe

oppositesideofthespectrumEspeciallyin todayrsquostheatrical climatewhereldquotraditionalrdquois

adirtyworddirectorsrsquointerpretationsand actorsrsquochoicesbasedtoomuchontheirldquogutrdquo

oftenresultinproductionsthat lackthefocusanddepththat Shakespearersquoswordsdeserve

IdeallyactorswouldrespectShakespearersquosplaysasliterature andscholarswouldrespect

themasperformance

Demonstratingthisbalancebyincludingperformative perspectivein Shakespearean

analysisiscontemporaryscholar CarolChillingtonRutterwho inherbook Enter the Body

Women and Representation on Shakespearersquos Stagediscussestheactorasreallivingbody

andespeciallyfocusesonplaysorscenes inwhichable‐bodied actors portraydisabledor

deadcharactersldquoArealbodyfakestherole ofboguscorpserdquo(2)Thisanalysis hasbroader

implications forShakespearestudiesClearlyitisimportant tolookatShakespearersquos

Ganger12

characters asldquorealrdquo2 becauseofShakespearersquos understandingofhumannatureor

complexityinhisportrayal(bothof whicharecertainly part ofthereasonShakespearersquos

characters shouldbeconsidered realpeople)butbecausetheyare livingbodies Real

peopleembodythecharactersand therefore insomesensethey are real inaphysical

literalway AsEllenTerrystatesldquo[Anactressrsquos]taskis to learnhowto translate this

character intoherself howtomakeits thoughtsherthoughts itswordsherwordsrdquo(80)

LivingphysicalactormustabsorbShakespearersquoslanguagetopresent theliving physical

character

Ifoneconsiderstheseconcepts only hypotheticallywithouttraininginperformance

ldquotranslating[a]characterintordquo oneselfmaysoundhighlysubjectiveandemotionalin

naturewith littlemethodorreasoningrequiredThis assumptionmayaccountforsomeof

theanimositybetween performers ofShakespeareandscholarsof Shakespeare

Pragmaticallyanysolidactortrainingincludestraininginhowtomethodicallygrounda

performanceinthetextoftheworkbeingperformedThis trainingat leastinWestern

theatrewhereShakespeare isstillheldasthecornerstoneof thedramaticcanonwill

inevitablybebasedintheworks oftheseminaldirectorandactortrainerKonstantin

StanislavskiAcclaimed actor(and grandsonofEllenTerry)JohnGielguddeclares

Stanislavskitheldquoauthorityrdquoinacting method(ix)Indeed it wouldnotbetooextremeto

claimthatStanislavski istoactortrainingwhatShakespeareis to the genre of drama

Althoughheworked intheearly 1900sStanislavskirsquosmethodsareappropriatefor actors

2 Iwishthattherewasa clearer termfor whatIwant tocommunicatewhenIdiscussShakespearersquos characters as ldquorealpeoplerdquo Ofcourse Shakespearersquoscharacters are fictionalThey are certainlyeffective representationsof real people andrealreaders and audience membersthroughouthistory have identifiedthemselvesinthemTheimportantpoint of this ldquorealnessrdquoisthat theyalsohavefullthoughfictionallivesbeyondthewords on the pagejust as if one day of my life wererecordedIwould still haveafull lifebefore and after that one day

Ganger13

ofanygenreorperiodandGielgudevenspecifically insiststhatthey aresuitedto

Shakespeare(xiii)

Stanislavskirsquosmethodbywhichalmostevery otherldquomethodrdquohas sprungisbasedona

thoroughstudyandpreparationof thegiventextStanislavski callsthefirststepofa

rehearsalprocessldquoMiningthe Textrdquowhichisldquothekindof analysis[anactor]mightapplyto

ascripteithercollectivelywiththe directoror independentlyaspartof[hisorher]own

detectiveworkrdquoAlthoughmining thetextisldquoessentiallyhead‐ledworkhellipitsreverberations

areprofoundlypsycho‐physicalrdquo(Merlin55)This mining the text isessentiallyclose‐

readingrequiringanactortodiscoverevery possibleclueaplaywrighthasleftforhimor

heraboutacharacter fromwhichtothendevelopandembodyThetermldquogiven

circumstancesrdquoapplies totheeventsoftheplayorthespecificwordsonthepageInorder

totruthfullydevelopa characterStanislavski instructsthat itisldquonecessarytofindoutwhat

underlies[thegivencircumstancesofaplay]gaveriseto themishiddenbehindthemrdquo

(18)TheideaofanteriorspeculationasKnightswouldsayasaconceptremovedfromthe

scriptmdashmerelythefancifulimaginingsofawishfulactormdashcontradictstheveryfoundation

ofanyactortrainingAnylife that anactor imaginesforhis orhercharacterthathas

occurredoffstageofwhichthere arenowrittenwordsmustnecessarilybederivedand

supportedfullybythetext

Iwillprovideabriefexampleof thethoughtprocessanactor mightgothroughin

mining the textwhichcomesfromHarveyRovinersquosbook Silence in Shakespeare Drama

Power and GenderItislargelyalinguistic analysisasthebookfocusesonhow

Shakespeareusesmetertodirecthisactors(anotherconceptany trainedShakespearean

actorwouldbefamiliarwith)Shakespearersquosmeterisone ofthemany aspectsofthescript

Ganger14

thatmightprovidesignificantinformationabouttheactionsonstageldquoShortlinesrdquoor

incomplete linesof iambicpentametercanbeapproachedbyreaders andperformersas

ldquosharingrdquotheverseor by pausing

Thepassage Rovineanalyzesis from Act1Scene7ofMacbeth

LADYMACBETHhellipAnddashrsquodthebrainsouthadIsosworn

Asyouhavedonetothis

MACBETH Ifweshouldfail

LADY MACBETH We fail

Butscrewyourcouragetothestickingplacehellip

Rovinersquosanalysiscontinues

AsIinterpretthesceneMacbethrsquosquestionlsquoIf weshouldfailrsquocompletesLady

MacbethrsquosshortlinelsquoAsyouhavedonetothisrsquoImmediatelyprecedingthisexchange

Macbethhasexpressed hismisgivingsaboutthemurderbothin soliloquyandinthe

dialoguewithhiswifeandheisdeterminedlsquoto proceednofurtherin thisbusinessrsquo

WhenLadyMacbethdescribesher resolveintermsofherwillingness todashoutthe

brainsofhernursinginfantMacbethtriestoundercuther determinationbybringing

upthepossibilityoffailureAfterLadyMacbethrsquosshortline thereseemstobean

emotionally chargedsilenceastillnesswhich hangsin theair asLady Macbethdecides

onanothermoreeffectivewaytopersuadeMacbethtocarryout themurder(15)

Thisanalysisusescluesfromthetexttoimaginealivingpersondelivering theselinesThe

reading isessentiallyStanislavskianHeidentifiesldquoobjectivesrdquomdashgoalsortasksmdashand

ldquotacticsrdquomdashtheactions taken toachievesaid goalsortasksmdashthroughthecluesofthe

language(Merlin73)Ofcourse thisisnotthe onlyinterpretiveoptionforplayingthe

Ganger15

scenebuttheworking‐throughofthecharactersrsquothoughtsisa clearexampleofa

Stanislavskianprocess

Usingthetexttosupportlives outsideoftheplayisessentialtothisthesisbecause

mycentralclaimarguesthatsomeofShakespearersquoscharactershaveexperienceda trauma

offstageawayfromthe audience Thereareno writtenwordsthatshowthetrauma

occurringonlycluesthatShakespearehasleft thatitoccurredbefore atsomeprevious

timeThesecluesalonesuggestthatShakespeareknewthathis charactershadlivesbefore

theplaybeganandtheimplicationsmadebythesecluesareas valuableofevidenceasthe

textof thecluesthemselves

Thefinalingredientto thetheoryconnectingproximity traumaandShakespearersquos

characters isthe proximity Theproximityofliving audiencetoliving actorsharinga

performancespaceinfluencesthe empathyof theaudiencetoward a particularcharacter

Shakespearersquosplaysfirstoccurredasperformancesandtheaudienceldquogroundlingsrdquofar

morevocallyandphysicallyinvolved in the action of the plays thanmodernaudiences

wouldever daretobe actively participatedin theirown theatricalexperienceTodaythe

roleoftheaudienceremainsarealcomponentinShakespearersquos playsRobConkiersquosldquoRed

ButtonShakespearerdquoaddressesand refutesclaimsthatperformanceisimpenetrableto

criticismbecauseofthevariablenatureoflive performance3Heusesamethodheterms

3 PersonallyI questionedwhetherIcould discussliveperformances for this paperEveryone who studies King Lear as a work ofliteratureworksfromthe samewords on apagethat documentproviding a foundation for scholarly conversation about the playIf someonewerereadinganarticleabout thetextof King Learall theyneedisto lookto thescriptforreferenceand they wouldbeon roughlythe samepageas thewriterLiveperformancehoweverisan entirelydifferent beastEachperformanceof King Lear willbe differentmdashdifferent actors giving a differentlook andvoice to the characters different directorsgiving different staging to the scenes different budgetsandvenuesproviding varying degreesof reality to technical elementsetcFurthermoreeach performanceexists onlyfor a momentfor theparticular audience present

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Copyright

By

Cody Ganger

2016

Ganger2

TableofContents

Prologuehelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 3

Act1LayingaFoundationBackgroundandTheoryhelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 6

Act2TheWomenandWoundsof Titus Andronicushelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip22

Act3One ManTwoFathersPsychologicalTraumaandtheSisterof King Learhelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip31

Act4WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation fromVillaintoVictimhelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 42

Act5Final ThoughtsandFutureResearchhelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip59

Bibliographyhelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip66

Ganger3

Prologue

Inthesummerof2009Iplayed Regan ina productionof King Lear andasIworked

onandrehearsedthischaracter Ifeltagreatdealofheartbreakdesperationandempathy

forherIwascaptivatedbythe characterandtheplayasawholeWhenIbegantheEnglish

GraduateprograminWinter2014 andwasaskedtochooseoneclassicworkof literature

tofocusoninEnglish500Iquicklychose King Lear withtheintention ofresearching

scholarlymaterialonthethree womeninthe playWhatIquicklyrealizedwasthatthereis

awealthof scholarshipfocused onCordeliabutverylittlefocusedonGoneriland Regan

AnymentionofLearrsquos elderdaughtersarealwaysasone‐dimensionalfoilstoCordeliaand

alwaysoccuroff‐handedlyalmostasafootnotetowhat theauthorfindsactually

interestingmdashCordelia DouglasParkerrsquosarticleldquoTheThirdSuitorin King Lear Act1Scene

1rdquogetsclosetoprovidingsome true insightintoGonerilandRegan whenhedescribeshow

similarthey aretotheir father(140)However beforehecan analyze themwithanyreal

depthhestatesthatheagrees withtraditionalscholarswhobelieveldquoGoneriland Regan

areuntrustworthyingeneraland insensitivetohumanneedsand feelingsrdquo(144) Thiskind

ofsurface‐levelglossingoverof the elderdaughtersmademeinterestedindoingfurther

researchintotheircharacters

Thereseemstobeageneralresistancetohumanizingor analyzingthe motivations

andinnerlivesoftheseldquoevilrdquo womenInmyopinion ifShakespeare wrotesuchafully

developedcharacterin Cordelia whoonlyappearsalive infour scenesoftheplaysurely

hedidnotintendthemajorcharactersofGonerilandRegancharacterswhodrivesomuch

oftheactiontobeviewedinsuchashallowlightThescholarshipgenerallypointstothe

Ganger4

assumptionthatGonerilandRegan areattheoutsetofthe play(and presumablyfrom

birth)evilIbegantoaskmyselfhowmuchare theyalsovictims

BecauseIhadapproachedtheplayasanactorseekingtobringrealitytothe

characterI playeditseemedobvioustomethatGonerilandReganhaveexperienceda

traumaticemotionalwoundbefore theplaybeginsbybeingraised withtheknowledge

thattheirfatherlovestheiryoungestsisterbestHowdoesthistraumaimpactandshape

themwithoutexcusing themfrom thehorrendousdeedstheycommitReflecting onother

womeninShakespearersquostragedies IbegantoseeatrendintraumaticexperiencesIt

seemedlikeldquogoodrdquowomen(ieCordelia OpheliaLavinia)experience theirtrauma

onstagein frontofthe audience andthenprocessit inasympathetic wayasa victimOn

theotherhandldquoevilrdquowomen(ie GonerilReganLadyMacbethTamora)experiencetheir

traumaoffstageorbeforetheplayhasbegunwithapparentlydevastatingconsequencesto

theirmoral characterI becameinterestedintheextent towhichonecanhumanizejustify

orotherwiseanalyzethe innerlivesof Shakespearersquosldquoevilrdquowomenandhowthenatureof

acharacterrsquostraumainformstheir portrayalasvictimor villain

FurthermoreIbecame interestedinwhetherthefieldofstudy changestheway

thesecharactersareinterpretedWasmyview asanactor sodifferent fromthegeneral

scholarlyconsensusbecauseofa fundamentallydifferenttrainingandphilosophyof

approachingthetextCertainlythefieldsof Shakespeare asliteratureandShakespearein

performanceshouldnotbesofarremovedthattheir approaches and conclusionscannot

supplementoneanotherScholarly readingsofShakespearemayenhanceperformances

andperformancesmay informandguidescholarlyreadings

Ganger5

Thisquestionhassince clarifiedafterayearof furthermeditation andresearch

HereIintendtoseparateShakespearersquosfemalecharacters into two archetypesmdashthevictim

andthevillainShakespearersquosplays Macbeth Titus Andronicus and King Lear areideal

subjectsforthisanalysisbecausetheyare allplaysinwhich botharchetypesexistside‐by‐

sidewhosetraumascanbeeasilycomparedThroughanexplorationofmoderntrauma

andperformancetheoryIproposeanewreadingof the playsrsquofemalecharacterswherein

theaudiencersquosproximitytothe charactersrsquotraumasaffectstheirempathyforthe

characters re‐affirmingthesearchetypes

Ganger6

Act1

Laying A FoundationBackground andTheory

Cathy Caruthrsquosgroundbreaking1996work Unclaimed Experience Trauma

Narrative and History setstheprecedentfor traumatheoryasit isknowntoday Although

morecurrentscholars1 haveupdatedandcorrectedaspectsofhertheoriesto account for

morecurrentpsychologicalresearch Unclaimed Experience remains seminaltotheliterary

studyoftrauma

ThetermldquotraumardquofromtheGreekoriginallyreferredtoaphysicalinjuryor

woundalthoughFreudrsquosworkre‐defined theterm asldquoawoundinflictednotuponthebody

butuponthemindrdquo(Caruth3)CaruthusesFreudtoestablishherpremisethatatraumatic

eventthatoccursinisolation isprocessedinsuchawaythat causesprolonged

psychologicalsuffering different thanthatwhichdoesnotoccurinisolationThefollowing

excerptexplainshowCaruthcametothisconclusion

Inthethirdchapterof Beyond the Pleasure PrincipleFreuddescribes apatternof

suffering thatis inexplicablypersistent in thelivesofcertain individualsPerplexed

byterrifyinglyliteralnightmaresofbattlefield survivorsand therepetitive

reenactmentsofpeoplewhohaveexperienced painfuleventsFreud wonders at the

peculiarandsometimesuncannywayin whichcatastrophicevents seemtorepeat

themselvesforthosewhohavepassedthroughthem(1)

1 HarvardUniversityprofessorof psychologyRichardMcNally attacks Caruthrsquos claims of traumatic amnesia (a topic thatI amnotworkingwithinthispaper)but hisemphasisis inreal‐world psychology whereas Caruthwrites aboutliterary charactersBostonUniversitylecturerinthehumanities JoshuaPedersonrsquos revisedtheory isamorevaluableresourceforupdating Unclaimed Experiencebuthisarticle merelyexpands uponCaruthrsquos workwithoutattempting to discreditit

Ganger7

CaruthinterpretsFreudrsquosldquorepetitivereenactmentsrdquoasldquoahuman voicethatcriesoutfrom

thewoundrdquo(3)Asthesubtitle ofherbooksuggestsCaruthemphasizespersonal

narrativemdasheachldquowoundrdquoisastory thatneeds tobetoldbythe person whoexperiencesit

Ofcoursethisalsoimpliesthat thesuffererneedsalistenerawitnessanaudiencetohear

hisorherstoryHertheoryasserts thathiddentraumaneedstobeexpressedinorderfor

thesufferertobeabletohealandnotreplaytheviciouscycleForShakespearersquos

characters performancesprovide aphysicalliteraloutletfor thistheorytoplayout

Charactersrsquo traumaticexperiences eitheroccuronstageor offstage eitherhiddenfromthe

audienceor sharedwiththeaudienceThose characters whosetraumasarehiddenfrom

theaudiencecryoutfromthewoundthroughtheiractionswithouteverbeingheard

whereas thosecharacterswhosetraumasare sharedwiththeaudienceescapethefate of

repeatingthemandusuallyfind someformofhealingorveneration

Theremay besomequestion asto whethermoderntraumatheorycaningood

consciencebeappliedtoclassicalcharacters Menachem Ben‐EzraprofessorattheSchool

ofSocialWorkatthe ArielUniversityCenterofSamariainhisreviewofliterarytrauma

identifies thevalidityofapplyingmoderntheory toancient texts findingsubstantial

evidence for psychologicaltrauma datingback toantiquityHe even pointstosleep

disordersinShakespeareas asymptomofPTSD(235)Thisisa directexamplefromoneof

theplaysunderanalysisin this papermdashLady MacbethrsquosfamoussleepwalkingsceneBen‐

Ezrarsquosarticlefocusesonclassicliteraturemoreasproofthat post‐traumaticstressisa

conditionthathasexistedsince antiquityand lessasastudy oftheliterarycharacters

themselves

Ganger8

ApplyingthesetheoriestoShakespearersquoscharactersrequiresa certainamount of

psychoanalysisoratleasttheadmission thatfictionalcharactershavesufficient

psychologicalcomplexitytoreadastraumasufferersScholars have beendividedonthe

answertothisquestionsince the early20th century

LCKnightsaShakespearescholarwriting in the1930s reactedstronglyagainst

whatheconsideredthe then‐populartrendof over‐emphasizingShakespearersquos

psychologicalrealismneglecting whatKnightsconsideredfarmoreimportantmdash

Shakespearersquospoetry HisfamousessayldquoHow ManyChildrenHadLadyMacbethrdquodirectly

arguesagainstthecriticismthatconcerns itselfwithShakespearersquoscharactersand

especiallyagainstthosethatworkunderthepremisethatShakespearersquoscharactersare

ldquorealpeoplerdquoHisassertion

TheonlyprofitableapproachtoShakespeare isaconsideration of hisplaysas

dramaticpoemsofhisuseoflanguagetoobtainatotalcomplexemotional

responseYetthebulkofShakespearecriticismisconcernedwithhischaractershis

heroineshisloveofNatureor hislsquophilosophyrsquomdashwitheverything inshortexcept

thewordson thepagewhichitisthemainbusinessof the critictoexamine(11)

Hisessaycriticizeshis contemporariesespeciallyEllenTerry anactressandscholarwho

inherlecturesldquoexercisesextensivelsquoanterior speculationrsquoby asking questionslike

lsquowhetherPortiaorBellariothoughtofthefamousquibblersquo orlsquohowdidtheBoyin HenryV

learntospeakFrenchrsquordquo(Knights3)ECPettetnicelydefinesthis termldquoanterior

speculationrdquoastheldquocriticalgameofconstructingaworld outsidethe givenmaterialofthe

playrdquo(192)Pettetwas writingthirtyyearsafterKnights and yethisbook Shakespeare and

Ganger9

the Romance Tradition holdsfirmlytoKnightsrsquosauthorityinhowtoapproacha

Shakespeareantext

KnightsmarksavitalriftinthefieldofShakespearestudiesHisinfluenceshould

notbeunderestimated LeonardF Deanrsquos1958articleldquoMacbeth andModernCriticismrdquo

describesKnightsrsquosarticleasa majormovementinShakespeareancriticismand Norman

Hollandrsquosbook Psychoanalysis and Shakespeare callsKnightsrsquosessaytheldquolocus classicusrdquoof

Shakespearestudies(296)Today criticslike Pascale Aebischerin Shakespearersquos Violated

Bodies Stage and Screen Performance continue touseKnightsrsquosframeworktodismiss

performersrsquotendencies totreat the characters asrealpeople AebischerobservesldquoAs

recentproductionsof King Lear showthetype ofreading that in academiawas discredited

byLCKnightsaslongagoas1933 seemstothrive intodayrsquos mainstreamtheatre that

generallyseemstobecenteredon lsquotruthfulrsquocharacterratherthanplotrdquo(176)Idonrsquot

understandwhythetwoaremutuallyexclusivebutitappearsthatthereis a riftinhowwe

thinkaboutShakespearemdashone thatif Aebischerrsquoscommentsareany indication arerife

withcondescension for theopposingopinion Knightsrsquosessayheavy withcondescension

itselfmay havebeen thedivisive workthatdrewasharp line betweenShakespeare‐as‐

LiteratureandShakespeare‐as‐Performancea linethat stillexiststodayHislegacyhaunts

performersandotherShakespeareanscholarswhoseoftenmorehumanized three‐

dimensionalinterpretationsofShakespearersquos characters aredismissedaschildish

imagination

ThoughKnightswould certainly balkatmyquestionsabouttraumaand

ShakespearersquoscharactersEllen Terryandthecriticsthatalso viewShakespearethrough

thelensof performancewouldlikelyagreethatShakespearersquoscharactersarevalid

Ganger10

candidates forpsychoanlysisSomeofthesecriticswritingthroughoutthelastcentury

includeJohnRusselBrownandArthurColbySpraguewhowerebothwritinginthe1960s

contemporariestoDean and PettetandarguedthatShakespeare cannotbeseparated from

performanceand insistedthathisrealhumancharacterswere themostimportantaspect

ofhisplaysontheElizabethanstage

Perhapsthemostwell‐knowncriticinthistraditionpolarizingashis extremeviews

maybeisHaroldBloomauthorof Shakespeare Invention of the HumanAshis title

suggestsBloomarguesthatShakespeare inventedcharacterpersonalityandWestern

identityasitisunderstoodtodayKnightsrsquosmainargumentis thatShakespeareshouldbe

studiedprimarilyasa poetThoughBloomadmitsShakespearersquos linguisticsuperiorityhe

holdsthatShakespearersquospoetry isnotwhathasmadehislastingimpactItrsquosthe people in

hisplaysmdashhischaractersmdashthathaveaffectedcivilizationandshaped Western culture

Bloomjustifieshispriorityof characterbyexplainingthatldquo[Shakespearersquos]few peersmdash

HomertheYahwistDanteChaucerCervantesTolstoyperhaps Dickensmdashremind usthat

therepresentationofhumancharacterandpersonalityremainsalwaysthesupreme

literaryvaluewhetherin dramalyricornarrativerdquo(3‐4) Inotherwordstheelementthat

makesaworkofliteratureendure throughthecenturiesthatmakesanimpacton history

isprimarilytheportrayalofhumanityandcharacterHow could Bloomdisapproveof

applyingtraumatheorytoShakespearersquoscharacterswhenheviewsthemassuchcomplete

andrealpeople

Unfortunatelythedividebetweenliteratureandperformancepersists even with

BloomInhisstudyofShakespearersquosplaysheforgetsorignoresthatthemediumof

performanceisas importantaway ofexperiencingandstudying Shakespeareas isreading

Ganger11

fromthepageOf King LearBloomsaysldquoIemphasizereadingmore thaneverbecauseI

haveattendedmanystagingsof King Lear andinvariably haveregrettedbeingthereOur

directorsandactorsaredefeated bythisplayandIbeginsadlytoagreehellipthatweoughtto

keeprereading King Lear andavoiditsstaged travestiesrdquo (476)This argument is patently

illogicalSimplybecauseonehas neverseen a performancethat meetshisorher

expectations doesnotjustifydivorcingthehistoricalreality thatShakespearersquosworkswere

originallyperformed King Learorevenfarmoredifficultplaystostageintodayrsquos world

likethe Henry VI trilogyshouldstillbeapproachedwiththemindset thatperformancewas

necessarytotheplayrsquosoriginand istherefore necessaryto itsinterpretation

Thisisnottosaythatactorsanddirectorsarenotoftenguiltyofleaningtoofartothe

oppositesideofthespectrumEspeciallyin todayrsquostheatrical climatewhereldquotraditionalrdquois

adirtyworddirectorsrsquointerpretationsand actorsrsquochoicesbasedtoomuchontheirldquogutrdquo

oftenresultinproductionsthat lackthefocusanddepththat Shakespearersquoswordsdeserve

IdeallyactorswouldrespectShakespearersquosplaysasliterature andscholarswouldrespect

themasperformance

Demonstratingthisbalancebyincludingperformative perspectivein Shakespearean

analysisiscontemporaryscholar CarolChillingtonRutterwho inherbook Enter the Body

Women and Representation on Shakespearersquos Stagediscussestheactorasreallivingbody

andespeciallyfocusesonplaysorscenes inwhichable‐bodied actors portraydisabledor

deadcharactersldquoArealbodyfakestherole ofboguscorpserdquo(2)Thisanalysis hasbroader

implications forShakespearestudiesClearlyitisimportant tolookatShakespearersquos

Ganger12

characters asldquorealrdquo2 becauseofShakespearersquos understandingofhumannatureor

complexityinhisportrayal(bothof whicharecertainly part ofthereasonShakespearersquos

characters shouldbeconsidered realpeople)butbecausetheyare livingbodies Real

peopleembodythecharactersand therefore insomesensethey are real inaphysical

literalway AsEllenTerrystatesldquo[Anactressrsquos]taskis to learnhowto translate this

character intoherself howtomakeits thoughtsherthoughts itswordsherwordsrdquo(80)

LivingphysicalactormustabsorbShakespearersquoslanguagetopresent theliving physical

character

Ifoneconsiderstheseconcepts only hypotheticallywithouttraininginperformance

ldquotranslating[a]characterintordquo oneselfmaysoundhighlysubjectiveandemotionalin

naturewith littlemethodorreasoningrequiredThis assumptionmayaccountforsomeof

theanimositybetween performers ofShakespeareandscholarsof Shakespeare

Pragmaticallyanysolidactortrainingincludestraininginhowtomethodicallygrounda

performanceinthetextoftheworkbeingperformedThis trainingat leastinWestern

theatrewhereShakespeare isstillheldasthecornerstoneof thedramaticcanonwill

inevitablybebasedintheworks oftheseminaldirectorandactortrainerKonstantin

StanislavskiAcclaimed actor(and grandsonofEllenTerry)JohnGielguddeclares

Stanislavskitheldquoauthorityrdquoinacting method(ix)Indeed it wouldnotbetooextremeto

claimthatStanislavski istoactortrainingwhatShakespeareis to the genre of drama

Althoughheworked intheearly 1900sStanislavskirsquosmethodsareappropriatefor actors

2 Iwishthattherewasa clearer termfor whatIwant tocommunicatewhenIdiscussShakespearersquos characters as ldquorealpeoplerdquo Ofcourse Shakespearersquoscharacters are fictionalThey are certainlyeffective representationsof real people andrealreaders and audience membersthroughouthistory have identifiedthemselvesinthemTheimportantpoint of this ldquorealnessrdquoisthat theyalsohavefullthoughfictionallivesbeyondthewords on the pagejust as if one day of my life wererecordedIwould still haveafull lifebefore and after that one day

Ganger13

ofanygenreorperiodandGielgudevenspecifically insiststhatthey aresuitedto

Shakespeare(xiii)

Stanislavskirsquosmethodbywhichalmostevery otherldquomethodrdquohas sprungisbasedona

thoroughstudyandpreparationof thegiventextStanislavski callsthefirststepofa

rehearsalprocessldquoMiningthe Textrdquowhichisldquothekindof analysis[anactor]mightapplyto

ascripteithercollectivelywiththe directoror independentlyaspartof[hisorher]own

detectiveworkrdquoAlthoughmining thetextisldquoessentiallyhead‐ledworkhellipitsreverberations

areprofoundlypsycho‐physicalrdquo(Merlin55)This mining the text isessentiallyclose‐

readingrequiringanactortodiscoverevery possibleclueaplaywrighthasleftforhimor

heraboutacharacter fromwhichtothendevelopandembodyThetermldquogiven

circumstancesrdquoapplies totheeventsoftheplayorthespecificwordsonthepageInorder

totruthfullydevelopa characterStanislavski instructsthat itisldquonecessarytofindoutwhat

underlies[thegivencircumstancesofaplay]gaveriseto themishiddenbehindthemrdquo

(18)TheideaofanteriorspeculationasKnightswouldsayasaconceptremovedfromthe

scriptmdashmerelythefancifulimaginingsofawishfulactormdashcontradictstheveryfoundation

ofanyactortrainingAnylife that anactor imaginesforhis orhercharacterthathas

occurredoffstageofwhichthere arenowrittenwordsmustnecessarilybederivedand

supportedfullybythetext

Iwillprovideabriefexampleof thethoughtprocessanactor mightgothroughin

mining the textwhichcomesfromHarveyRovinersquosbook Silence in Shakespeare Drama

Power and GenderItislargelyalinguistic analysisasthebookfocusesonhow

Shakespeareusesmetertodirecthisactors(anotherconceptany trainedShakespearean

actorwouldbefamiliarwith)Shakespearersquosmeterisone ofthemany aspectsofthescript

Ganger14

thatmightprovidesignificantinformationabouttheactionsonstageldquoShortlinesrdquoor

incomplete linesof iambicpentametercanbeapproachedbyreaders andperformersas

ldquosharingrdquotheverseor by pausing

Thepassage Rovineanalyzesis from Act1Scene7ofMacbeth

LADYMACBETHhellipAnddashrsquodthebrainsouthadIsosworn

Asyouhavedonetothis

MACBETH Ifweshouldfail

LADY MACBETH We fail

Butscrewyourcouragetothestickingplacehellip

Rovinersquosanalysiscontinues

AsIinterpretthesceneMacbethrsquosquestionlsquoIf weshouldfailrsquocompletesLady

MacbethrsquosshortlinelsquoAsyouhavedonetothisrsquoImmediatelyprecedingthisexchange

Macbethhasexpressed hismisgivingsaboutthemurderbothin soliloquyandinthe

dialoguewithhiswifeandheisdeterminedlsquoto proceednofurtherin thisbusinessrsquo

WhenLadyMacbethdescribesher resolveintermsofherwillingness todashoutthe

brainsofhernursinginfantMacbethtriestoundercuther determinationbybringing

upthepossibilityoffailureAfterLadyMacbethrsquosshortline thereseemstobean

emotionally chargedsilenceastillnesswhich hangsin theair asLady Macbethdecides

onanothermoreeffectivewaytopersuadeMacbethtocarryout themurder(15)

Thisanalysisusescluesfromthetexttoimaginealivingpersondelivering theselinesThe

reading isessentiallyStanislavskianHeidentifiesldquoobjectivesrdquomdashgoalsortasksmdashand

ldquotacticsrdquomdashtheactions taken toachievesaid goalsortasksmdashthroughthecluesofthe

language(Merlin73)Ofcourse thisisnotthe onlyinterpretiveoptionforplayingthe

Ganger15

scenebuttheworking‐throughofthecharactersrsquothoughtsisa clearexampleofa

Stanislavskianprocess

Usingthetexttosupportlives outsideoftheplayisessentialtothisthesisbecause

mycentralclaimarguesthatsomeofShakespearersquoscharactershaveexperienceda trauma

offstageawayfromthe audience Thereareno writtenwordsthatshowthetrauma

occurringonlycluesthatShakespearehasleft thatitoccurredbefore atsomeprevious

timeThesecluesalonesuggestthatShakespeareknewthathis charactershadlivesbefore

theplaybeganandtheimplicationsmadebythesecluesareas valuableofevidenceasthe

textof thecluesthemselves

Thefinalingredientto thetheoryconnectingproximity traumaandShakespearersquos

characters isthe proximity Theproximityofliving audiencetoliving actorsharinga

performancespaceinfluencesthe empathyof theaudiencetoward a particularcharacter

Shakespearersquosplaysfirstoccurredasperformancesandtheaudienceldquogroundlingsrdquofar

morevocallyandphysicallyinvolved in the action of the plays thanmodernaudiences

wouldever daretobe actively participatedin theirown theatricalexperienceTodaythe

roleoftheaudienceremainsarealcomponentinShakespearersquos playsRobConkiersquosldquoRed

ButtonShakespearerdquoaddressesand refutesclaimsthatperformanceisimpenetrableto

criticismbecauseofthevariablenatureoflive performance3Heusesamethodheterms

3 PersonallyI questionedwhetherIcould discussliveperformances for this paperEveryone who studies King Lear as a work ofliteratureworksfromthe samewords on apagethat documentproviding a foundation for scholarly conversation about the playIf someonewerereadinganarticleabout thetextof King Learall theyneedisto lookto thescriptforreferenceand they wouldbeon roughlythe samepageas thewriterLiveperformancehoweverisan entirelydifferent beastEachperformanceof King Lear willbe differentmdashdifferent actors giving a differentlook andvoice to the characters different directorsgiving different staging to the scenes different budgetsandvenuesproviding varying degreesof reality to technical elementsetcFurthermoreeach performanceexists onlyfor a momentfor theparticular audience present

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger2

TableofContents

Prologuehelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 3

Act1LayingaFoundationBackgroundandTheoryhelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 6

Act2TheWomenandWoundsof Titus Andronicushelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip22

Act3One ManTwoFathersPsychologicalTraumaandtheSisterof King Learhelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip31

Act4WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation fromVillaintoVictimhelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 42

Act5Final ThoughtsandFutureResearchhelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip59

Bibliographyhelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip66

Ganger3

Prologue

Inthesummerof2009Iplayed Regan ina productionof King Lear andasIworked

onandrehearsedthischaracter Ifeltagreatdealofheartbreakdesperationandempathy

forherIwascaptivatedbythe characterandtheplayasawholeWhenIbegantheEnglish

GraduateprograminWinter2014 andwasaskedtochooseoneclassicworkof literature

tofocusoninEnglish500Iquicklychose King Lear withtheintention ofresearching

scholarlymaterialonthethree womeninthe playWhatIquicklyrealizedwasthatthereis

awealthof scholarshipfocused onCordeliabutverylittlefocusedonGoneriland Regan

AnymentionofLearrsquos elderdaughtersarealwaysasone‐dimensionalfoilstoCordeliaand

alwaysoccuroff‐handedlyalmostasafootnotetowhat theauthorfindsactually

interestingmdashCordelia DouglasParkerrsquosarticleldquoTheThirdSuitorin King Lear Act1Scene

1rdquogetsclosetoprovidingsome true insightintoGonerilandRegan whenhedescribeshow

similarthey aretotheir father(140)However beforehecan analyze themwithanyreal

depthhestatesthatheagrees withtraditionalscholarswhobelieveldquoGoneriland Regan

areuntrustworthyingeneraland insensitivetohumanneedsand feelingsrdquo(144) Thiskind

ofsurface‐levelglossingoverof the elderdaughtersmademeinterestedindoingfurther

researchintotheircharacters

Thereseemstobeageneralresistancetohumanizingor analyzingthe motivations

andinnerlivesoftheseldquoevilrdquo womenInmyopinion ifShakespeare wrotesuchafully

developedcharacterin Cordelia whoonlyappearsalive infour scenesoftheplaysurely

hedidnotintendthemajorcharactersofGonerilandRegancharacterswhodrivesomuch

oftheactiontobeviewedinsuchashallowlightThescholarshipgenerallypointstothe

Ganger4

assumptionthatGonerilandRegan areattheoutsetofthe play(and presumablyfrom

birth)evilIbegantoaskmyselfhowmuchare theyalsovictims

BecauseIhadapproachedtheplayasanactorseekingtobringrealitytothe

characterI playeditseemedobvioustomethatGonerilandReganhaveexperienceda

traumaticemotionalwoundbefore theplaybeginsbybeingraised withtheknowledge

thattheirfatherlovestheiryoungestsisterbestHowdoesthistraumaimpactandshape

themwithoutexcusing themfrom thehorrendousdeedstheycommitReflecting onother

womeninShakespearersquostragedies IbegantoseeatrendintraumaticexperiencesIt

seemedlikeldquogoodrdquowomen(ieCordelia OpheliaLavinia)experience theirtrauma

onstagein frontofthe audience andthenprocessit inasympathetic wayasa victimOn

theotherhandldquoevilrdquowomen(ie GonerilReganLadyMacbethTamora)experiencetheir

traumaoffstageorbeforetheplayhasbegunwithapparentlydevastatingconsequencesto

theirmoral characterI becameinterestedintheextent towhichonecanhumanizejustify

orotherwiseanalyzethe innerlivesof Shakespearersquosldquoevilrdquowomenandhowthenatureof

acharacterrsquostraumainformstheir portrayalasvictimor villain

FurthermoreIbecame interestedinwhetherthefieldofstudy changestheway

thesecharactersareinterpretedWasmyview asanactor sodifferent fromthegeneral

scholarlyconsensusbecauseofa fundamentallydifferenttrainingandphilosophyof

approachingthetextCertainlythefieldsof Shakespeare asliteratureandShakespearein

performanceshouldnotbesofarremovedthattheir approaches and conclusionscannot

supplementoneanotherScholarly readingsofShakespearemayenhanceperformances

andperformancesmay informandguidescholarlyreadings

Ganger5

Thisquestionhassince clarifiedafterayearof furthermeditation andresearch

HereIintendtoseparateShakespearersquosfemalecharacters into two archetypesmdashthevictim

andthevillainShakespearersquosplays Macbeth Titus Andronicus and King Lear areideal

subjectsforthisanalysisbecausetheyare allplaysinwhich botharchetypesexistside‐by‐

sidewhosetraumascanbeeasilycomparedThroughanexplorationofmoderntrauma

andperformancetheoryIproposeanewreadingof the playsrsquofemalecharacterswherein

theaudiencersquosproximitytothe charactersrsquotraumasaffectstheirempathyforthe

characters re‐affirmingthesearchetypes

Ganger6

Act1

Laying A FoundationBackground andTheory

Cathy Caruthrsquosgroundbreaking1996work Unclaimed Experience Trauma

Narrative and History setstheprecedentfor traumatheoryasit isknowntoday Although

morecurrentscholars1 haveupdatedandcorrectedaspectsofhertheoriesto account for

morecurrentpsychologicalresearch Unclaimed Experience remains seminaltotheliterary

studyoftrauma

ThetermldquotraumardquofromtheGreekoriginallyreferredtoaphysicalinjuryor

woundalthoughFreudrsquosworkre‐defined theterm asldquoawoundinflictednotuponthebody

butuponthemindrdquo(Caruth3)CaruthusesFreudtoestablishherpremisethatatraumatic

eventthatoccursinisolation isprocessedinsuchawaythat causesprolonged

psychologicalsuffering different thanthatwhichdoesnotoccurinisolationThefollowing

excerptexplainshowCaruthcametothisconclusion

Inthethirdchapterof Beyond the Pleasure PrincipleFreuddescribes apatternof

suffering thatis inexplicablypersistent in thelivesofcertain individualsPerplexed

byterrifyinglyliteralnightmaresofbattlefield survivorsand therepetitive

reenactmentsofpeoplewhohaveexperienced painfuleventsFreud wonders at the

peculiarandsometimesuncannywayin whichcatastrophicevents seemtorepeat

themselvesforthosewhohavepassedthroughthem(1)

1 HarvardUniversityprofessorof psychologyRichardMcNally attacks Caruthrsquos claims of traumatic amnesia (a topic thatI amnotworkingwithinthispaper)but hisemphasisis inreal‐world psychology whereas Caruthwrites aboutliterary charactersBostonUniversitylecturerinthehumanities JoshuaPedersonrsquos revisedtheory isamorevaluableresourceforupdating Unclaimed Experiencebuthisarticle merelyexpands uponCaruthrsquos workwithoutattempting to discreditit

Ganger7

CaruthinterpretsFreudrsquosldquorepetitivereenactmentsrdquoasldquoahuman voicethatcriesoutfrom

thewoundrdquo(3)Asthesubtitle ofherbooksuggestsCaruthemphasizespersonal

narrativemdasheachldquowoundrdquoisastory thatneeds tobetoldbythe person whoexperiencesit

Ofcoursethisalsoimpliesthat thesuffererneedsalistenerawitnessanaudiencetohear

hisorherstoryHertheoryasserts thathiddentraumaneedstobeexpressedinorderfor

thesufferertobeabletohealandnotreplaytheviciouscycleForShakespearersquos

characters performancesprovide aphysicalliteraloutletfor thistheorytoplayout

Charactersrsquo traumaticexperiences eitheroccuronstageor offstage eitherhiddenfromthe

audienceor sharedwiththeaudienceThose characters whosetraumasarehiddenfrom

theaudiencecryoutfromthewoundthroughtheiractionswithouteverbeingheard

whereas thosecharacterswhosetraumasare sharedwiththeaudienceescapethefate of

repeatingthemandusuallyfind someformofhealingorveneration

Theremay besomequestion asto whethermoderntraumatheorycaningood

consciencebeappliedtoclassicalcharacters Menachem Ben‐EzraprofessorattheSchool

ofSocialWorkatthe ArielUniversityCenterofSamariainhisreviewofliterarytrauma

identifies thevalidityofapplyingmoderntheory toancient texts findingsubstantial

evidence for psychologicaltrauma datingback toantiquityHe even pointstosleep

disordersinShakespeareas asymptomofPTSD(235)Thisisa directexamplefromoneof

theplaysunderanalysisin this papermdashLady MacbethrsquosfamoussleepwalkingsceneBen‐

Ezrarsquosarticlefocusesonclassicliteraturemoreasproofthat post‐traumaticstressisa

conditionthathasexistedsince antiquityand lessasastudy oftheliterarycharacters

themselves

Ganger8

ApplyingthesetheoriestoShakespearersquoscharactersrequiresa certainamount of

psychoanalysisoratleasttheadmission thatfictionalcharactershavesufficient

psychologicalcomplexitytoreadastraumasufferersScholars have beendividedonthe

answertothisquestionsince the early20th century

LCKnightsaShakespearescholarwriting in the1930s reactedstronglyagainst

whatheconsideredthe then‐populartrendof over‐emphasizingShakespearersquos

psychologicalrealismneglecting whatKnightsconsideredfarmoreimportantmdash

Shakespearersquospoetry HisfamousessayldquoHow ManyChildrenHadLadyMacbethrdquodirectly

arguesagainstthecriticismthatconcerns itselfwithShakespearersquoscharactersand

especiallyagainstthosethatworkunderthepremisethatShakespearersquoscharactersare

ldquorealpeoplerdquoHisassertion

TheonlyprofitableapproachtoShakespeare isaconsideration of hisplaysas

dramaticpoemsofhisuseoflanguagetoobtainatotalcomplexemotional

responseYetthebulkofShakespearecriticismisconcernedwithhischaractershis

heroineshisloveofNatureor hislsquophilosophyrsquomdashwitheverything inshortexcept

thewordson thepagewhichitisthemainbusinessof the critictoexamine(11)

Hisessaycriticizeshis contemporariesespeciallyEllenTerry anactressandscholarwho

inherlecturesldquoexercisesextensivelsquoanterior speculationrsquoby asking questionslike

lsquowhetherPortiaorBellariothoughtofthefamousquibblersquo orlsquohowdidtheBoyin HenryV

learntospeakFrenchrsquordquo(Knights3)ECPettetnicelydefinesthis termldquoanterior

speculationrdquoastheldquocriticalgameofconstructingaworld outsidethe givenmaterialofthe

playrdquo(192)Pettetwas writingthirtyyearsafterKnights and yethisbook Shakespeare and

Ganger9

the Romance Tradition holdsfirmlytoKnightsrsquosauthorityinhowtoapproacha

Shakespeareantext

KnightsmarksavitalriftinthefieldofShakespearestudiesHisinfluenceshould

notbeunderestimated LeonardF Deanrsquos1958articleldquoMacbeth andModernCriticismrdquo

describesKnightsrsquosarticleasa majormovementinShakespeareancriticismand Norman

Hollandrsquosbook Psychoanalysis and Shakespeare callsKnightsrsquosessaytheldquolocus classicusrdquoof

Shakespearestudies(296)Today criticslike Pascale Aebischerin Shakespearersquos Violated

Bodies Stage and Screen Performance continue touseKnightsrsquosframeworktodismiss

performersrsquotendencies totreat the characters asrealpeople AebischerobservesldquoAs

recentproductionsof King Lear showthetype ofreading that in academiawas discredited

byLCKnightsaslongagoas1933 seemstothrive intodayrsquos mainstreamtheatre that

generallyseemstobecenteredon lsquotruthfulrsquocharacterratherthanplotrdquo(176)Idonrsquot

understandwhythetwoaremutuallyexclusivebutitappearsthatthereis a riftinhowwe

thinkaboutShakespearemdashone thatif Aebischerrsquoscommentsareany indication arerife

withcondescension for theopposingopinion Knightsrsquosessayheavy withcondescension

itselfmay havebeen thedivisive workthatdrewasharp line betweenShakespeare‐as‐

LiteratureandShakespeare‐as‐Performancea linethat stillexiststodayHislegacyhaunts

performersandotherShakespeareanscholarswhoseoftenmorehumanized three‐

dimensionalinterpretationsofShakespearersquos characters aredismissedaschildish

imagination

ThoughKnightswould certainly balkatmyquestionsabouttraumaand

ShakespearersquoscharactersEllen Terryandthecriticsthatalso viewShakespearethrough

thelensof performancewouldlikelyagreethatShakespearersquoscharactersarevalid

Ganger10

candidates forpsychoanlysisSomeofthesecriticswritingthroughoutthelastcentury

includeJohnRusselBrownandArthurColbySpraguewhowerebothwritinginthe1960s

contemporariestoDean and PettetandarguedthatShakespeare cannotbeseparated from

performanceand insistedthathisrealhumancharacterswere themostimportantaspect

ofhisplaysontheElizabethanstage

Perhapsthemostwell‐knowncriticinthistraditionpolarizingashis extremeviews

maybeisHaroldBloomauthorof Shakespeare Invention of the HumanAshis title

suggestsBloomarguesthatShakespeare inventedcharacterpersonalityandWestern

identityasitisunderstoodtodayKnightsrsquosmainargumentis thatShakespeareshouldbe

studiedprimarilyasa poetThoughBloomadmitsShakespearersquos linguisticsuperiorityhe

holdsthatShakespearersquospoetry isnotwhathasmadehislastingimpactItrsquosthe people in

hisplaysmdashhischaractersmdashthathaveaffectedcivilizationandshaped Western culture

Bloomjustifieshispriorityof characterbyexplainingthatldquo[Shakespearersquos]few peersmdash

HomertheYahwistDanteChaucerCervantesTolstoyperhaps Dickensmdashremind usthat

therepresentationofhumancharacterandpersonalityremainsalwaysthesupreme

literaryvaluewhetherin dramalyricornarrativerdquo(3‐4) Inotherwordstheelementthat

makesaworkofliteratureendure throughthecenturiesthatmakesanimpacton history

isprimarilytheportrayalofhumanityandcharacterHow could Bloomdisapproveof

applyingtraumatheorytoShakespearersquoscharacterswhenheviewsthemassuchcomplete

andrealpeople

Unfortunatelythedividebetweenliteratureandperformancepersists even with

BloomInhisstudyofShakespearersquosplaysheforgetsorignoresthatthemediumof

performanceisas importantaway ofexperiencingandstudying Shakespeareas isreading

Ganger11

fromthepageOf King LearBloomsaysldquoIemphasizereadingmore thaneverbecauseI

haveattendedmanystagingsof King Lear andinvariably haveregrettedbeingthereOur

directorsandactorsaredefeated bythisplayandIbeginsadlytoagreehellipthatweoughtto

keeprereading King Lear andavoiditsstaged travestiesrdquo (476)This argument is patently

illogicalSimplybecauseonehas neverseen a performancethat meetshisorher

expectations doesnotjustifydivorcingthehistoricalreality thatShakespearersquosworkswere

originallyperformed King Learorevenfarmoredifficultplaystostageintodayrsquos world

likethe Henry VI trilogyshouldstillbeapproachedwiththemindset thatperformancewas

necessarytotheplayrsquosoriginand istherefore necessaryto itsinterpretation

Thisisnottosaythatactorsanddirectorsarenotoftenguiltyofleaningtoofartothe

oppositesideofthespectrumEspeciallyin todayrsquostheatrical climatewhereldquotraditionalrdquois

adirtyworddirectorsrsquointerpretationsand actorsrsquochoicesbasedtoomuchontheirldquogutrdquo

oftenresultinproductionsthat lackthefocusanddepththat Shakespearersquoswordsdeserve

IdeallyactorswouldrespectShakespearersquosplaysasliterature andscholarswouldrespect

themasperformance

Demonstratingthisbalancebyincludingperformative perspectivein Shakespearean

analysisiscontemporaryscholar CarolChillingtonRutterwho inherbook Enter the Body

Women and Representation on Shakespearersquos Stagediscussestheactorasreallivingbody

andespeciallyfocusesonplaysorscenes inwhichable‐bodied actors portraydisabledor

deadcharactersldquoArealbodyfakestherole ofboguscorpserdquo(2)Thisanalysis hasbroader

implications forShakespearestudiesClearlyitisimportant tolookatShakespearersquos

Ganger12

characters asldquorealrdquo2 becauseofShakespearersquos understandingofhumannatureor

complexityinhisportrayal(bothof whicharecertainly part ofthereasonShakespearersquos

characters shouldbeconsidered realpeople)butbecausetheyare livingbodies Real

peopleembodythecharactersand therefore insomesensethey are real inaphysical

literalway AsEllenTerrystatesldquo[Anactressrsquos]taskis to learnhowto translate this

character intoherself howtomakeits thoughtsherthoughts itswordsherwordsrdquo(80)

LivingphysicalactormustabsorbShakespearersquoslanguagetopresent theliving physical

character

Ifoneconsiderstheseconcepts only hypotheticallywithouttraininginperformance

ldquotranslating[a]characterintordquo oneselfmaysoundhighlysubjectiveandemotionalin

naturewith littlemethodorreasoningrequiredThis assumptionmayaccountforsomeof

theanimositybetween performers ofShakespeareandscholarsof Shakespeare

Pragmaticallyanysolidactortrainingincludestraininginhowtomethodicallygrounda

performanceinthetextoftheworkbeingperformedThis trainingat leastinWestern

theatrewhereShakespeare isstillheldasthecornerstoneof thedramaticcanonwill

inevitablybebasedintheworks oftheseminaldirectorandactortrainerKonstantin

StanislavskiAcclaimed actor(and grandsonofEllenTerry)JohnGielguddeclares

Stanislavskitheldquoauthorityrdquoinacting method(ix)Indeed it wouldnotbetooextremeto

claimthatStanislavski istoactortrainingwhatShakespeareis to the genre of drama

Althoughheworked intheearly 1900sStanislavskirsquosmethodsareappropriatefor actors

2 Iwishthattherewasa clearer termfor whatIwant tocommunicatewhenIdiscussShakespearersquos characters as ldquorealpeoplerdquo Ofcourse Shakespearersquoscharacters are fictionalThey are certainlyeffective representationsof real people andrealreaders and audience membersthroughouthistory have identifiedthemselvesinthemTheimportantpoint of this ldquorealnessrdquoisthat theyalsohavefullthoughfictionallivesbeyondthewords on the pagejust as if one day of my life wererecordedIwould still haveafull lifebefore and after that one day

Ganger13

ofanygenreorperiodandGielgudevenspecifically insiststhatthey aresuitedto

Shakespeare(xiii)

Stanislavskirsquosmethodbywhichalmostevery otherldquomethodrdquohas sprungisbasedona

thoroughstudyandpreparationof thegiventextStanislavski callsthefirststepofa

rehearsalprocessldquoMiningthe Textrdquowhichisldquothekindof analysis[anactor]mightapplyto

ascripteithercollectivelywiththe directoror independentlyaspartof[hisorher]own

detectiveworkrdquoAlthoughmining thetextisldquoessentiallyhead‐ledworkhellipitsreverberations

areprofoundlypsycho‐physicalrdquo(Merlin55)This mining the text isessentiallyclose‐

readingrequiringanactortodiscoverevery possibleclueaplaywrighthasleftforhimor

heraboutacharacter fromwhichtothendevelopandembodyThetermldquogiven

circumstancesrdquoapplies totheeventsoftheplayorthespecificwordsonthepageInorder

totruthfullydevelopa characterStanislavski instructsthat itisldquonecessarytofindoutwhat

underlies[thegivencircumstancesofaplay]gaveriseto themishiddenbehindthemrdquo

(18)TheideaofanteriorspeculationasKnightswouldsayasaconceptremovedfromthe

scriptmdashmerelythefancifulimaginingsofawishfulactormdashcontradictstheveryfoundation

ofanyactortrainingAnylife that anactor imaginesforhis orhercharacterthathas

occurredoffstageofwhichthere arenowrittenwordsmustnecessarilybederivedand

supportedfullybythetext

Iwillprovideabriefexampleof thethoughtprocessanactor mightgothroughin

mining the textwhichcomesfromHarveyRovinersquosbook Silence in Shakespeare Drama

Power and GenderItislargelyalinguistic analysisasthebookfocusesonhow

Shakespeareusesmetertodirecthisactors(anotherconceptany trainedShakespearean

actorwouldbefamiliarwith)Shakespearersquosmeterisone ofthemany aspectsofthescript

Ganger14

thatmightprovidesignificantinformationabouttheactionsonstageldquoShortlinesrdquoor

incomplete linesof iambicpentametercanbeapproachedbyreaders andperformersas

ldquosharingrdquotheverseor by pausing

Thepassage Rovineanalyzesis from Act1Scene7ofMacbeth

LADYMACBETHhellipAnddashrsquodthebrainsouthadIsosworn

Asyouhavedonetothis

MACBETH Ifweshouldfail

LADY MACBETH We fail

Butscrewyourcouragetothestickingplacehellip

Rovinersquosanalysiscontinues

AsIinterpretthesceneMacbethrsquosquestionlsquoIf weshouldfailrsquocompletesLady

MacbethrsquosshortlinelsquoAsyouhavedonetothisrsquoImmediatelyprecedingthisexchange

Macbethhasexpressed hismisgivingsaboutthemurderbothin soliloquyandinthe

dialoguewithhiswifeandheisdeterminedlsquoto proceednofurtherin thisbusinessrsquo

WhenLadyMacbethdescribesher resolveintermsofherwillingness todashoutthe

brainsofhernursinginfantMacbethtriestoundercuther determinationbybringing

upthepossibilityoffailureAfterLadyMacbethrsquosshortline thereseemstobean

emotionally chargedsilenceastillnesswhich hangsin theair asLady Macbethdecides

onanothermoreeffectivewaytopersuadeMacbethtocarryout themurder(15)

Thisanalysisusescluesfromthetexttoimaginealivingpersondelivering theselinesThe

reading isessentiallyStanislavskianHeidentifiesldquoobjectivesrdquomdashgoalsortasksmdashand

ldquotacticsrdquomdashtheactions taken toachievesaid goalsortasksmdashthroughthecluesofthe

language(Merlin73)Ofcourse thisisnotthe onlyinterpretiveoptionforplayingthe

Ganger15

scenebuttheworking‐throughofthecharactersrsquothoughtsisa clearexampleofa

Stanislavskianprocess

Usingthetexttosupportlives outsideoftheplayisessentialtothisthesisbecause

mycentralclaimarguesthatsomeofShakespearersquoscharactershaveexperienceda trauma

offstageawayfromthe audience Thereareno writtenwordsthatshowthetrauma

occurringonlycluesthatShakespearehasleft thatitoccurredbefore atsomeprevious

timeThesecluesalonesuggestthatShakespeareknewthathis charactershadlivesbefore

theplaybeganandtheimplicationsmadebythesecluesareas valuableofevidenceasthe

textof thecluesthemselves

Thefinalingredientto thetheoryconnectingproximity traumaandShakespearersquos

characters isthe proximity Theproximityofliving audiencetoliving actorsharinga

performancespaceinfluencesthe empathyof theaudiencetoward a particularcharacter

Shakespearersquosplaysfirstoccurredasperformancesandtheaudienceldquogroundlingsrdquofar

morevocallyandphysicallyinvolved in the action of the plays thanmodernaudiences

wouldever daretobe actively participatedin theirown theatricalexperienceTodaythe

roleoftheaudienceremainsarealcomponentinShakespearersquos playsRobConkiersquosldquoRed

ButtonShakespearerdquoaddressesand refutesclaimsthatperformanceisimpenetrableto

criticismbecauseofthevariablenatureoflive performance3Heusesamethodheterms

3 PersonallyI questionedwhetherIcould discussliveperformances for this paperEveryone who studies King Lear as a work ofliteratureworksfromthe samewords on apagethat documentproviding a foundation for scholarly conversation about the playIf someonewerereadinganarticleabout thetextof King Learall theyneedisto lookto thescriptforreferenceand they wouldbeon roughlythe samepageas thewriterLiveperformancehoweverisan entirelydifferent beastEachperformanceof King Lear willbe differentmdashdifferent actors giving a differentlook andvoice to the characters different directorsgiving different staging to the scenes different budgetsandvenuesproviding varying degreesof reality to technical elementsetcFurthermoreeach performanceexists onlyfor a momentfor theparticular audience present

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger3

Prologue

Inthesummerof2009Iplayed Regan ina productionof King Lear andasIworked

onandrehearsedthischaracter Ifeltagreatdealofheartbreakdesperationandempathy

forherIwascaptivatedbythe characterandtheplayasawholeWhenIbegantheEnglish

GraduateprograminWinter2014 andwasaskedtochooseoneclassicworkof literature

tofocusoninEnglish500Iquicklychose King Lear withtheintention ofresearching

scholarlymaterialonthethree womeninthe playWhatIquicklyrealizedwasthatthereis

awealthof scholarshipfocused onCordeliabutverylittlefocusedonGoneriland Regan

AnymentionofLearrsquos elderdaughtersarealwaysasone‐dimensionalfoilstoCordeliaand

alwaysoccuroff‐handedlyalmostasafootnotetowhat theauthorfindsactually

interestingmdashCordelia DouglasParkerrsquosarticleldquoTheThirdSuitorin King Lear Act1Scene

1rdquogetsclosetoprovidingsome true insightintoGonerilandRegan whenhedescribeshow

similarthey aretotheir father(140)However beforehecan analyze themwithanyreal

depthhestatesthatheagrees withtraditionalscholarswhobelieveldquoGoneriland Regan

areuntrustworthyingeneraland insensitivetohumanneedsand feelingsrdquo(144) Thiskind

ofsurface‐levelglossingoverof the elderdaughtersmademeinterestedindoingfurther

researchintotheircharacters

Thereseemstobeageneralresistancetohumanizingor analyzingthe motivations

andinnerlivesoftheseldquoevilrdquo womenInmyopinion ifShakespeare wrotesuchafully

developedcharacterin Cordelia whoonlyappearsalive infour scenesoftheplaysurely

hedidnotintendthemajorcharactersofGonerilandRegancharacterswhodrivesomuch

oftheactiontobeviewedinsuchashallowlightThescholarshipgenerallypointstothe

Ganger4

assumptionthatGonerilandRegan areattheoutsetofthe play(and presumablyfrom

birth)evilIbegantoaskmyselfhowmuchare theyalsovictims

BecauseIhadapproachedtheplayasanactorseekingtobringrealitytothe

characterI playeditseemedobvioustomethatGonerilandReganhaveexperienceda

traumaticemotionalwoundbefore theplaybeginsbybeingraised withtheknowledge

thattheirfatherlovestheiryoungestsisterbestHowdoesthistraumaimpactandshape

themwithoutexcusing themfrom thehorrendousdeedstheycommitReflecting onother

womeninShakespearersquostragedies IbegantoseeatrendintraumaticexperiencesIt

seemedlikeldquogoodrdquowomen(ieCordelia OpheliaLavinia)experience theirtrauma

onstagein frontofthe audience andthenprocessit inasympathetic wayasa victimOn

theotherhandldquoevilrdquowomen(ie GonerilReganLadyMacbethTamora)experiencetheir

traumaoffstageorbeforetheplayhasbegunwithapparentlydevastatingconsequencesto

theirmoral characterI becameinterestedintheextent towhichonecanhumanizejustify

orotherwiseanalyzethe innerlivesof Shakespearersquosldquoevilrdquowomenandhowthenatureof

acharacterrsquostraumainformstheir portrayalasvictimor villain

FurthermoreIbecame interestedinwhetherthefieldofstudy changestheway

thesecharactersareinterpretedWasmyview asanactor sodifferent fromthegeneral

scholarlyconsensusbecauseofa fundamentallydifferenttrainingandphilosophyof

approachingthetextCertainlythefieldsof Shakespeare asliteratureandShakespearein

performanceshouldnotbesofarremovedthattheir approaches and conclusionscannot

supplementoneanotherScholarly readingsofShakespearemayenhanceperformances

andperformancesmay informandguidescholarlyreadings

Ganger5

Thisquestionhassince clarifiedafterayearof furthermeditation andresearch

HereIintendtoseparateShakespearersquosfemalecharacters into two archetypesmdashthevictim

andthevillainShakespearersquosplays Macbeth Titus Andronicus and King Lear areideal

subjectsforthisanalysisbecausetheyare allplaysinwhich botharchetypesexistside‐by‐

sidewhosetraumascanbeeasilycomparedThroughanexplorationofmoderntrauma

andperformancetheoryIproposeanewreadingof the playsrsquofemalecharacterswherein

theaudiencersquosproximitytothe charactersrsquotraumasaffectstheirempathyforthe

characters re‐affirmingthesearchetypes

Ganger6

Act1

Laying A FoundationBackground andTheory

Cathy Caruthrsquosgroundbreaking1996work Unclaimed Experience Trauma

Narrative and History setstheprecedentfor traumatheoryasit isknowntoday Although

morecurrentscholars1 haveupdatedandcorrectedaspectsofhertheoriesto account for

morecurrentpsychologicalresearch Unclaimed Experience remains seminaltotheliterary

studyoftrauma

ThetermldquotraumardquofromtheGreekoriginallyreferredtoaphysicalinjuryor

woundalthoughFreudrsquosworkre‐defined theterm asldquoawoundinflictednotuponthebody

butuponthemindrdquo(Caruth3)CaruthusesFreudtoestablishherpremisethatatraumatic

eventthatoccursinisolation isprocessedinsuchawaythat causesprolonged

psychologicalsuffering different thanthatwhichdoesnotoccurinisolationThefollowing

excerptexplainshowCaruthcametothisconclusion

Inthethirdchapterof Beyond the Pleasure PrincipleFreuddescribes apatternof

suffering thatis inexplicablypersistent in thelivesofcertain individualsPerplexed

byterrifyinglyliteralnightmaresofbattlefield survivorsand therepetitive

reenactmentsofpeoplewhohaveexperienced painfuleventsFreud wonders at the

peculiarandsometimesuncannywayin whichcatastrophicevents seemtorepeat

themselvesforthosewhohavepassedthroughthem(1)

1 HarvardUniversityprofessorof psychologyRichardMcNally attacks Caruthrsquos claims of traumatic amnesia (a topic thatI amnotworkingwithinthispaper)but hisemphasisis inreal‐world psychology whereas Caruthwrites aboutliterary charactersBostonUniversitylecturerinthehumanities JoshuaPedersonrsquos revisedtheory isamorevaluableresourceforupdating Unclaimed Experiencebuthisarticle merelyexpands uponCaruthrsquos workwithoutattempting to discreditit

Ganger7

CaruthinterpretsFreudrsquosldquorepetitivereenactmentsrdquoasldquoahuman voicethatcriesoutfrom

thewoundrdquo(3)Asthesubtitle ofherbooksuggestsCaruthemphasizespersonal

narrativemdasheachldquowoundrdquoisastory thatneeds tobetoldbythe person whoexperiencesit

Ofcoursethisalsoimpliesthat thesuffererneedsalistenerawitnessanaudiencetohear

hisorherstoryHertheoryasserts thathiddentraumaneedstobeexpressedinorderfor

thesufferertobeabletohealandnotreplaytheviciouscycleForShakespearersquos

characters performancesprovide aphysicalliteraloutletfor thistheorytoplayout

Charactersrsquo traumaticexperiences eitheroccuronstageor offstage eitherhiddenfromthe

audienceor sharedwiththeaudienceThose characters whosetraumasarehiddenfrom

theaudiencecryoutfromthewoundthroughtheiractionswithouteverbeingheard

whereas thosecharacterswhosetraumasare sharedwiththeaudienceescapethefate of

repeatingthemandusuallyfind someformofhealingorveneration

Theremay besomequestion asto whethermoderntraumatheorycaningood

consciencebeappliedtoclassicalcharacters Menachem Ben‐EzraprofessorattheSchool

ofSocialWorkatthe ArielUniversityCenterofSamariainhisreviewofliterarytrauma

identifies thevalidityofapplyingmoderntheory toancient texts findingsubstantial

evidence for psychologicaltrauma datingback toantiquityHe even pointstosleep

disordersinShakespeareas asymptomofPTSD(235)Thisisa directexamplefromoneof

theplaysunderanalysisin this papermdashLady MacbethrsquosfamoussleepwalkingsceneBen‐

Ezrarsquosarticlefocusesonclassicliteraturemoreasproofthat post‐traumaticstressisa

conditionthathasexistedsince antiquityand lessasastudy oftheliterarycharacters

themselves

Ganger8

ApplyingthesetheoriestoShakespearersquoscharactersrequiresa certainamount of

psychoanalysisoratleasttheadmission thatfictionalcharactershavesufficient

psychologicalcomplexitytoreadastraumasufferersScholars have beendividedonthe

answertothisquestionsince the early20th century

LCKnightsaShakespearescholarwriting in the1930s reactedstronglyagainst

whatheconsideredthe then‐populartrendof over‐emphasizingShakespearersquos

psychologicalrealismneglecting whatKnightsconsideredfarmoreimportantmdash

Shakespearersquospoetry HisfamousessayldquoHow ManyChildrenHadLadyMacbethrdquodirectly

arguesagainstthecriticismthatconcerns itselfwithShakespearersquoscharactersand

especiallyagainstthosethatworkunderthepremisethatShakespearersquoscharactersare

ldquorealpeoplerdquoHisassertion

TheonlyprofitableapproachtoShakespeare isaconsideration of hisplaysas

dramaticpoemsofhisuseoflanguagetoobtainatotalcomplexemotional

responseYetthebulkofShakespearecriticismisconcernedwithhischaractershis

heroineshisloveofNatureor hislsquophilosophyrsquomdashwitheverything inshortexcept

thewordson thepagewhichitisthemainbusinessof the critictoexamine(11)

Hisessaycriticizeshis contemporariesespeciallyEllenTerry anactressandscholarwho

inherlecturesldquoexercisesextensivelsquoanterior speculationrsquoby asking questionslike

lsquowhetherPortiaorBellariothoughtofthefamousquibblersquo orlsquohowdidtheBoyin HenryV

learntospeakFrenchrsquordquo(Knights3)ECPettetnicelydefinesthis termldquoanterior

speculationrdquoastheldquocriticalgameofconstructingaworld outsidethe givenmaterialofthe

playrdquo(192)Pettetwas writingthirtyyearsafterKnights and yethisbook Shakespeare and

Ganger9

the Romance Tradition holdsfirmlytoKnightsrsquosauthorityinhowtoapproacha

Shakespeareantext

KnightsmarksavitalriftinthefieldofShakespearestudiesHisinfluenceshould

notbeunderestimated LeonardF Deanrsquos1958articleldquoMacbeth andModernCriticismrdquo

describesKnightsrsquosarticleasa majormovementinShakespeareancriticismand Norman

Hollandrsquosbook Psychoanalysis and Shakespeare callsKnightsrsquosessaytheldquolocus classicusrdquoof

Shakespearestudies(296)Today criticslike Pascale Aebischerin Shakespearersquos Violated

Bodies Stage and Screen Performance continue touseKnightsrsquosframeworktodismiss

performersrsquotendencies totreat the characters asrealpeople AebischerobservesldquoAs

recentproductionsof King Lear showthetype ofreading that in academiawas discredited

byLCKnightsaslongagoas1933 seemstothrive intodayrsquos mainstreamtheatre that

generallyseemstobecenteredon lsquotruthfulrsquocharacterratherthanplotrdquo(176)Idonrsquot

understandwhythetwoaremutuallyexclusivebutitappearsthatthereis a riftinhowwe

thinkaboutShakespearemdashone thatif Aebischerrsquoscommentsareany indication arerife

withcondescension for theopposingopinion Knightsrsquosessayheavy withcondescension

itselfmay havebeen thedivisive workthatdrewasharp line betweenShakespeare‐as‐

LiteratureandShakespeare‐as‐Performancea linethat stillexiststodayHislegacyhaunts

performersandotherShakespeareanscholarswhoseoftenmorehumanized three‐

dimensionalinterpretationsofShakespearersquos characters aredismissedaschildish

imagination

ThoughKnightswould certainly balkatmyquestionsabouttraumaand

ShakespearersquoscharactersEllen Terryandthecriticsthatalso viewShakespearethrough

thelensof performancewouldlikelyagreethatShakespearersquoscharactersarevalid

Ganger10

candidates forpsychoanlysisSomeofthesecriticswritingthroughoutthelastcentury

includeJohnRusselBrownandArthurColbySpraguewhowerebothwritinginthe1960s

contemporariestoDean and PettetandarguedthatShakespeare cannotbeseparated from

performanceand insistedthathisrealhumancharacterswere themostimportantaspect

ofhisplaysontheElizabethanstage

Perhapsthemostwell‐knowncriticinthistraditionpolarizingashis extremeviews

maybeisHaroldBloomauthorof Shakespeare Invention of the HumanAshis title

suggestsBloomarguesthatShakespeare inventedcharacterpersonalityandWestern

identityasitisunderstoodtodayKnightsrsquosmainargumentis thatShakespeareshouldbe

studiedprimarilyasa poetThoughBloomadmitsShakespearersquos linguisticsuperiorityhe

holdsthatShakespearersquospoetry isnotwhathasmadehislastingimpactItrsquosthe people in

hisplaysmdashhischaractersmdashthathaveaffectedcivilizationandshaped Western culture

Bloomjustifieshispriorityof characterbyexplainingthatldquo[Shakespearersquos]few peersmdash

HomertheYahwistDanteChaucerCervantesTolstoyperhaps Dickensmdashremind usthat

therepresentationofhumancharacterandpersonalityremainsalwaysthesupreme

literaryvaluewhetherin dramalyricornarrativerdquo(3‐4) Inotherwordstheelementthat

makesaworkofliteratureendure throughthecenturiesthatmakesanimpacton history

isprimarilytheportrayalofhumanityandcharacterHow could Bloomdisapproveof

applyingtraumatheorytoShakespearersquoscharacterswhenheviewsthemassuchcomplete

andrealpeople

Unfortunatelythedividebetweenliteratureandperformancepersists even with

BloomInhisstudyofShakespearersquosplaysheforgetsorignoresthatthemediumof

performanceisas importantaway ofexperiencingandstudying Shakespeareas isreading

Ganger11

fromthepageOf King LearBloomsaysldquoIemphasizereadingmore thaneverbecauseI

haveattendedmanystagingsof King Lear andinvariably haveregrettedbeingthereOur

directorsandactorsaredefeated bythisplayandIbeginsadlytoagreehellipthatweoughtto

keeprereading King Lear andavoiditsstaged travestiesrdquo (476)This argument is patently

illogicalSimplybecauseonehas neverseen a performancethat meetshisorher

expectations doesnotjustifydivorcingthehistoricalreality thatShakespearersquosworkswere

originallyperformed King Learorevenfarmoredifficultplaystostageintodayrsquos world

likethe Henry VI trilogyshouldstillbeapproachedwiththemindset thatperformancewas

necessarytotheplayrsquosoriginand istherefore necessaryto itsinterpretation

Thisisnottosaythatactorsanddirectorsarenotoftenguiltyofleaningtoofartothe

oppositesideofthespectrumEspeciallyin todayrsquostheatrical climatewhereldquotraditionalrdquois

adirtyworddirectorsrsquointerpretationsand actorsrsquochoicesbasedtoomuchontheirldquogutrdquo

oftenresultinproductionsthat lackthefocusanddepththat Shakespearersquoswordsdeserve

IdeallyactorswouldrespectShakespearersquosplaysasliterature andscholarswouldrespect

themasperformance

Demonstratingthisbalancebyincludingperformative perspectivein Shakespearean

analysisiscontemporaryscholar CarolChillingtonRutterwho inherbook Enter the Body

Women and Representation on Shakespearersquos Stagediscussestheactorasreallivingbody

andespeciallyfocusesonplaysorscenes inwhichable‐bodied actors portraydisabledor

deadcharactersldquoArealbodyfakestherole ofboguscorpserdquo(2)Thisanalysis hasbroader

implications forShakespearestudiesClearlyitisimportant tolookatShakespearersquos

Ganger12

characters asldquorealrdquo2 becauseofShakespearersquos understandingofhumannatureor

complexityinhisportrayal(bothof whicharecertainly part ofthereasonShakespearersquos

characters shouldbeconsidered realpeople)butbecausetheyare livingbodies Real

peopleembodythecharactersand therefore insomesensethey are real inaphysical

literalway AsEllenTerrystatesldquo[Anactressrsquos]taskis to learnhowto translate this

character intoherself howtomakeits thoughtsherthoughts itswordsherwordsrdquo(80)

LivingphysicalactormustabsorbShakespearersquoslanguagetopresent theliving physical

character

Ifoneconsiderstheseconcepts only hypotheticallywithouttraininginperformance

ldquotranslating[a]characterintordquo oneselfmaysoundhighlysubjectiveandemotionalin

naturewith littlemethodorreasoningrequiredThis assumptionmayaccountforsomeof

theanimositybetween performers ofShakespeareandscholarsof Shakespeare

Pragmaticallyanysolidactortrainingincludestraininginhowtomethodicallygrounda

performanceinthetextoftheworkbeingperformedThis trainingat leastinWestern

theatrewhereShakespeare isstillheldasthecornerstoneof thedramaticcanonwill

inevitablybebasedintheworks oftheseminaldirectorandactortrainerKonstantin

StanislavskiAcclaimed actor(and grandsonofEllenTerry)JohnGielguddeclares

Stanislavskitheldquoauthorityrdquoinacting method(ix)Indeed it wouldnotbetooextremeto

claimthatStanislavski istoactortrainingwhatShakespeareis to the genre of drama

Althoughheworked intheearly 1900sStanislavskirsquosmethodsareappropriatefor actors

2 Iwishthattherewasa clearer termfor whatIwant tocommunicatewhenIdiscussShakespearersquos characters as ldquorealpeoplerdquo Ofcourse Shakespearersquoscharacters are fictionalThey are certainlyeffective representationsof real people andrealreaders and audience membersthroughouthistory have identifiedthemselvesinthemTheimportantpoint of this ldquorealnessrdquoisthat theyalsohavefullthoughfictionallivesbeyondthewords on the pagejust as if one day of my life wererecordedIwould still haveafull lifebefore and after that one day

Ganger13

ofanygenreorperiodandGielgudevenspecifically insiststhatthey aresuitedto

Shakespeare(xiii)

Stanislavskirsquosmethodbywhichalmostevery otherldquomethodrdquohas sprungisbasedona

thoroughstudyandpreparationof thegiventextStanislavski callsthefirststepofa

rehearsalprocessldquoMiningthe Textrdquowhichisldquothekindof analysis[anactor]mightapplyto

ascripteithercollectivelywiththe directoror independentlyaspartof[hisorher]own

detectiveworkrdquoAlthoughmining thetextisldquoessentiallyhead‐ledworkhellipitsreverberations

areprofoundlypsycho‐physicalrdquo(Merlin55)This mining the text isessentiallyclose‐

readingrequiringanactortodiscoverevery possibleclueaplaywrighthasleftforhimor

heraboutacharacter fromwhichtothendevelopandembodyThetermldquogiven

circumstancesrdquoapplies totheeventsoftheplayorthespecificwordsonthepageInorder

totruthfullydevelopa characterStanislavski instructsthat itisldquonecessarytofindoutwhat

underlies[thegivencircumstancesofaplay]gaveriseto themishiddenbehindthemrdquo

(18)TheideaofanteriorspeculationasKnightswouldsayasaconceptremovedfromthe

scriptmdashmerelythefancifulimaginingsofawishfulactormdashcontradictstheveryfoundation

ofanyactortrainingAnylife that anactor imaginesforhis orhercharacterthathas

occurredoffstageofwhichthere arenowrittenwordsmustnecessarilybederivedand

supportedfullybythetext

Iwillprovideabriefexampleof thethoughtprocessanactor mightgothroughin

mining the textwhichcomesfromHarveyRovinersquosbook Silence in Shakespeare Drama

Power and GenderItislargelyalinguistic analysisasthebookfocusesonhow

Shakespeareusesmetertodirecthisactors(anotherconceptany trainedShakespearean

actorwouldbefamiliarwith)Shakespearersquosmeterisone ofthemany aspectsofthescript

Ganger14

thatmightprovidesignificantinformationabouttheactionsonstageldquoShortlinesrdquoor

incomplete linesof iambicpentametercanbeapproachedbyreaders andperformersas

ldquosharingrdquotheverseor by pausing

Thepassage Rovineanalyzesis from Act1Scene7ofMacbeth

LADYMACBETHhellipAnddashrsquodthebrainsouthadIsosworn

Asyouhavedonetothis

MACBETH Ifweshouldfail

LADY MACBETH We fail

Butscrewyourcouragetothestickingplacehellip

Rovinersquosanalysiscontinues

AsIinterpretthesceneMacbethrsquosquestionlsquoIf weshouldfailrsquocompletesLady

MacbethrsquosshortlinelsquoAsyouhavedonetothisrsquoImmediatelyprecedingthisexchange

Macbethhasexpressed hismisgivingsaboutthemurderbothin soliloquyandinthe

dialoguewithhiswifeandheisdeterminedlsquoto proceednofurtherin thisbusinessrsquo

WhenLadyMacbethdescribesher resolveintermsofherwillingness todashoutthe

brainsofhernursinginfantMacbethtriestoundercuther determinationbybringing

upthepossibilityoffailureAfterLadyMacbethrsquosshortline thereseemstobean

emotionally chargedsilenceastillnesswhich hangsin theair asLady Macbethdecides

onanothermoreeffectivewaytopersuadeMacbethtocarryout themurder(15)

Thisanalysisusescluesfromthetexttoimaginealivingpersondelivering theselinesThe

reading isessentiallyStanislavskianHeidentifiesldquoobjectivesrdquomdashgoalsortasksmdashand

ldquotacticsrdquomdashtheactions taken toachievesaid goalsortasksmdashthroughthecluesofthe

language(Merlin73)Ofcourse thisisnotthe onlyinterpretiveoptionforplayingthe

Ganger15

scenebuttheworking‐throughofthecharactersrsquothoughtsisa clearexampleofa

Stanislavskianprocess

Usingthetexttosupportlives outsideoftheplayisessentialtothisthesisbecause

mycentralclaimarguesthatsomeofShakespearersquoscharactershaveexperienceda trauma

offstageawayfromthe audience Thereareno writtenwordsthatshowthetrauma

occurringonlycluesthatShakespearehasleft thatitoccurredbefore atsomeprevious

timeThesecluesalonesuggestthatShakespeareknewthathis charactershadlivesbefore

theplaybeganandtheimplicationsmadebythesecluesareas valuableofevidenceasthe

textof thecluesthemselves

Thefinalingredientto thetheoryconnectingproximity traumaandShakespearersquos

characters isthe proximity Theproximityofliving audiencetoliving actorsharinga

performancespaceinfluencesthe empathyof theaudiencetoward a particularcharacter

Shakespearersquosplaysfirstoccurredasperformancesandtheaudienceldquogroundlingsrdquofar

morevocallyandphysicallyinvolved in the action of the plays thanmodernaudiences

wouldever daretobe actively participatedin theirown theatricalexperienceTodaythe

roleoftheaudienceremainsarealcomponentinShakespearersquos playsRobConkiersquosldquoRed

ButtonShakespearerdquoaddressesand refutesclaimsthatperformanceisimpenetrableto

criticismbecauseofthevariablenatureoflive performance3Heusesamethodheterms

3 PersonallyI questionedwhetherIcould discussliveperformances for this paperEveryone who studies King Lear as a work ofliteratureworksfromthe samewords on apagethat documentproviding a foundation for scholarly conversation about the playIf someonewerereadinganarticleabout thetextof King Learall theyneedisto lookto thescriptforreferenceand they wouldbeon roughlythe samepageas thewriterLiveperformancehoweverisan entirelydifferent beastEachperformanceof King Lear willbe differentmdashdifferent actors giving a differentlook andvoice to the characters different directorsgiving different staging to the scenes different budgetsandvenuesproviding varying degreesof reality to technical elementsetcFurthermoreeach performanceexists onlyfor a momentfor theparticular audience present

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger4

assumptionthatGonerilandRegan areattheoutsetofthe play(and presumablyfrom

birth)evilIbegantoaskmyselfhowmuchare theyalsovictims

BecauseIhadapproachedtheplayasanactorseekingtobringrealitytothe

characterI playeditseemedobvioustomethatGonerilandReganhaveexperienceda

traumaticemotionalwoundbefore theplaybeginsbybeingraised withtheknowledge

thattheirfatherlovestheiryoungestsisterbestHowdoesthistraumaimpactandshape

themwithoutexcusing themfrom thehorrendousdeedstheycommitReflecting onother

womeninShakespearersquostragedies IbegantoseeatrendintraumaticexperiencesIt

seemedlikeldquogoodrdquowomen(ieCordelia OpheliaLavinia)experience theirtrauma

onstagein frontofthe audience andthenprocessit inasympathetic wayasa victimOn

theotherhandldquoevilrdquowomen(ie GonerilReganLadyMacbethTamora)experiencetheir

traumaoffstageorbeforetheplayhasbegunwithapparentlydevastatingconsequencesto

theirmoral characterI becameinterestedintheextent towhichonecanhumanizejustify

orotherwiseanalyzethe innerlivesof Shakespearersquosldquoevilrdquowomenandhowthenatureof

acharacterrsquostraumainformstheir portrayalasvictimor villain

FurthermoreIbecame interestedinwhetherthefieldofstudy changestheway

thesecharactersareinterpretedWasmyview asanactor sodifferent fromthegeneral

scholarlyconsensusbecauseofa fundamentallydifferenttrainingandphilosophyof

approachingthetextCertainlythefieldsof Shakespeare asliteratureandShakespearein

performanceshouldnotbesofarremovedthattheir approaches and conclusionscannot

supplementoneanotherScholarly readingsofShakespearemayenhanceperformances

andperformancesmay informandguidescholarlyreadings

Ganger5

Thisquestionhassince clarifiedafterayearof furthermeditation andresearch

HereIintendtoseparateShakespearersquosfemalecharacters into two archetypesmdashthevictim

andthevillainShakespearersquosplays Macbeth Titus Andronicus and King Lear areideal

subjectsforthisanalysisbecausetheyare allplaysinwhich botharchetypesexistside‐by‐

sidewhosetraumascanbeeasilycomparedThroughanexplorationofmoderntrauma

andperformancetheoryIproposeanewreadingof the playsrsquofemalecharacterswherein

theaudiencersquosproximitytothe charactersrsquotraumasaffectstheirempathyforthe

characters re‐affirmingthesearchetypes

Ganger6

Act1

Laying A FoundationBackground andTheory

Cathy Caruthrsquosgroundbreaking1996work Unclaimed Experience Trauma

Narrative and History setstheprecedentfor traumatheoryasit isknowntoday Although

morecurrentscholars1 haveupdatedandcorrectedaspectsofhertheoriesto account for

morecurrentpsychologicalresearch Unclaimed Experience remains seminaltotheliterary

studyoftrauma

ThetermldquotraumardquofromtheGreekoriginallyreferredtoaphysicalinjuryor

woundalthoughFreudrsquosworkre‐defined theterm asldquoawoundinflictednotuponthebody

butuponthemindrdquo(Caruth3)CaruthusesFreudtoestablishherpremisethatatraumatic

eventthatoccursinisolation isprocessedinsuchawaythat causesprolonged

psychologicalsuffering different thanthatwhichdoesnotoccurinisolationThefollowing

excerptexplainshowCaruthcametothisconclusion

Inthethirdchapterof Beyond the Pleasure PrincipleFreuddescribes apatternof

suffering thatis inexplicablypersistent in thelivesofcertain individualsPerplexed

byterrifyinglyliteralnightmaresofbattlefield survivorsand therepetitive

reenactmentsofpeoplewhohaveexperienced painfuleventsFreud wonders at the

peculiarandsometimesuncannywayin whichcatastrophicevents seemtorepeat

themselvesforthosewhohavepassedthroughthem(1)

1 HarvardUniversityprofessorof psychologyRichardMcNally attacks Caruthrsquos claims of traumatic amnesia (a topic thatI amnotworkingwithinthispaper)but hisemphasisis inreal‐world psychology whereas Caruthwrites aboutliterary charactersBostonUniversitylecturerinthehumanities JoshuaPedersonrsquos revisedtheory isamorevaluableresourceforupdating Unclaimed Experiencebuthisarticle merelyexpands uponCaruthrsquos workwithoutattempting to discreditit

Ganger7

CaruthinterpretsFreudrsquosldquorepetitivereenactmentsrdquoasldquoahuman voicethatcriesoutfrom

thewoundrdquo(3)Asthesubtitle ofherbooksuggestsCaruthemphasizespersonal

narrativemdasheachldquowoundrdquoisastory thatneeds tobetoldbythe person whoexperiencesit

Ofcoursethisalsoimpliesthat thesuffererneedsalistenerawitnessanaudiencetohear

hisorherstoryHertheoryasserts thathiddentraumaneedstobeexpressedinorderfor

thesufferertobeabletohealandnotreplaytheviciouscycleForShakespearersquos

characters performancesprovide aphysicalliteraloutletfor thistheorytoplayout

Charactersrsquo traumaticexperiences eitheroccuronstageor offstage eitherhiddenfromthe

audienceor sharedwiththeaudienceThose characters whosetraumasarehiddenfrom

theaudiencecryoutfromthewoundthroughtheiractionswithouteverbeingheard

whereas thosecharacterswhosetraumasare sharedwiththeaudienceescapethefate of

repeatingthemandusuallyfind someformofhealingorveneration

Theremay besomequestion asto whethermoderntraumatheorycaningood

consciencebeappliedtoclassicalcharacters Menachem Ben‐EzraprofessorattheSchool

ofSocialWorkatthe ArielUniversityCenterofSamariainhisreviewofliterarytrauma

identifies thevalidityofapplyingmoderntheory toancient texts findingsubstantial

evidence for psychologicaltrauma datingback toantiquityHe even pointstosleep

disordersinShakespeareas asymptomofPTSD(235)Thisisa directexamplefromoneof

theplaysunderanalysisin this papermdashLady MacbethrsquosfamoussleepwalkingsceneBen‐

Ezrarsquosarticlefocusesonclassicliteraturemoreasproofthat post‐traumaticstressisa

conditionthathasexistedsince antiquityand lessasastudy oftheliterarycharacters

themselves

Ganger8

ApplyingthesetheoriestoShakespearersquoscharactersrequiresa certainamount of

psychoanalysisoratleasttheadmission thatfictionalcharactershavesufficient

psychologicalcomplexitytoreadastraumasufferersScholars have beendividedonthe

answertothisquestionsince the early20th century

LCKnightsaShakespearescholarwriting in the1930s reactedstronglyagainst

whatheconsideredthe then‐populartrendof over‐emphasizingShakespearersquos

psychologicalrealismneglecting whatKnightsconsideredfarmoreimportantmdash

Shakespearersquospoetry HisfamousessayldquoHow ManyChildrenHadLadyMacbethrdquodirectly

arguesagainstthecriticismthatconcerns itselfwithShakespearersquoscharactersand

especiallyagainstthosethatworkunderthepremisethatShakespearersquoscharactersare

ldquorealpeoplerdquoHisassertion

TheonlyprofitableapproachtoShakespeare isaconsideration of hisplaysas

dramaticpoemsofhisuseoflanguagetoobtainatotalcomplexemotional

responseYetthebulkofShakespearecriticismisconcernedwithhischaractershis

heroineshisloveofNatureor hislsquophilosophyrsquomdashwitheverything inshortexcept

thewordson thepagewhichitisthemainbusinessof the critictoexamine(11)

Hisessaycriticizeshis contemporariesespeciallyEllenTerry anactressandscholarwho

inherlecturesldquoexercisesextensivelsquoanterior speculationrsquoby asking questionslike

lsquowhetherPortiaorBellariothoughtofthefamousquibblersquo orlsquohowdidtheBoyin HenryV

learntospeakFrenchrsquordquo(Knights3)ECPettetnicelydefinesthis termldquoanterior

speculationrdquoastheldquocriticalgameofconstructingaworld outsidethe givenmaterialofthe

playrdquo(192)Pettetwas writingthirtyyearsafterKnights and yethisbook Shakespeare and

Ganger9

the Romance Tradition holdsfirmlytoKnightsrsquosauthorityinhowtoapproacha

Shakespeareantext

KnightsmarksavitalriftinthefieldofShakespearestudiesHisinfluenceshould

notbeunderestimated LeonardF Deanrsquos1958articleldquoMacbeth andModernCriticismrdquo

describesKnightsrsquosarticleasa majormovementinShakespeareancriticismand Norman

Hollandrsquosbook Psychoanalysis and Shakespeare callsKnightsrsquosessaytheldquolocus classicusrdquoof

Shakespearestudies(296)Today criticslike Pascale Aebischerin Shakespearersquos Violated

Bodies Stage and Screen Performance continue touseKnightsrsquosframeworktodismiss

performersrsquotendencies totreat the characters asrealpeople AebischerobservesldquoAs

recentproductionsof King Lear showthetype ofreading that in academiawas discredited

byLCKnightsaslongagoas1933 seemstothrive intodayrsquos mainstreamtheatre that

generallyseemstobecenteredon lsquotruthfulrsquocharacterratherthanplotrdquo(176)Idonrsquot

understandwhythetwoaremutuallyexclusivebutitappearsthatthereis a riftinhowwe

thinkaboutShakespearemdashone thatif Aebischerrsquoscommentsareany indication arerife

withcondescension for theopposingopinion Knightsrsquosessayheavy withcondescension

itselfmay havebeen thedivisive workthatdrewasharp line betweenShakespeare‐as‐

LiteratureandShakespeare‐as‐Performancea linethat stillexiststodayHislegacyhaunts

performersandotherShakespeareanscholarswhoseoftenmorehumanized three‐

dimensionalinterpretationsofShakespearersquos characters aredismissedaschildish

imagination

ThoughKnightswould certainly balkatmyquestionsabouttraumaand

ShakespearersquoscharactersEllen Terryandthecriticsthatalso viewShakespearethrough

thelensof performancewouldlikelyagreethatShakespearersquoscharactersarevalid

Ganger10

candidates forpsychoanlysisSomeofthesecriticswritingthroughoutthelastcentury

includeJohnRusselBrownandArthurColbySpraguewhowerebothwritinginthe1960s

contemporariestoDean and PettetandarguedthatShakespeare cannotbeseparated from

performanceand insistedthathisrealhumancharacterswere themostimportantaspect

ofhisplaysontheElizabethanstage

Perhapsthemostwell‐knowncriticinthistraditionpolarizingashis extremeviews

maybeisHaroldBloomauthorof Shakespeare Invention of the HumanAshis title

suggestsBloomarguesthatShakespeare inventedcharacterpersonalityandWestern

identityasitisunderstoodtodayKnightsrsquosmainargumentis thatShakespeareshouldbe

studiedprimarilyasa poetThoughBloomadmitsShakespearersquos linguisticsuperiorityhe

holdsthatShakespearersquospoetry isnotwhathasmadehislastingimpactItrsquosthe people in

hisplaysmdashhischaractersmdashthathaveaffectedcivilizationandshaped Western culture

Bloomjustifieshispriorityof characterbyexplainingthatldquo[Shakespearersquos]few peersmdash

HomertheYahwistDanteChaucerCervantesTolstoyperhaps Dickensmdashremind usthat

therepresentationofhumancharacterandpersonalityremainsalwaysthesupreme

literaryvaluewhetherin dramalyricornarrativerdquo(3‐4) Inotherwordstheelementthat

makesaworkofliteratureendure throughthecenturiesthatmakesanimpacton history

isprimarilytheportrayalofhumanityandcharacterHow could Bloomdisapproveof

applyingtraumatheorytoShakespearersquoscharacterswhenheviewsthemassuchcomplete

andrealpeople

Unfortunatelythedividebetweenliteratureandperformancepersists even with

BloomInhisstudyofShakespearersquosplaysheforgetsorignoresthatthemediumof

performanceisas importantaway ofexperiencingandstudying Shakespeareas isreading

Ganger11

fromthepageOf King LearBloomsaysldquoIemphasizereadingmore thaneverbecauseI

haveattendedmanystagingsof King Lear andinvariably haveregrettedbeingthereOur

directorsandactorsaredefeated bythisplayandIbeginsadlytoagreehellipthatweoughtto

keeprereading King Lear andavoiditsstaged travestiesrdquo (476)This argument is patently

illogicalSimplybecauseonehas neverseen a performancethat meetshisorher

expectations doesnotjustifydivorcingthehistoricalreality thatShakespearersquosworkswere

originallyperformed King Learorevenfarmoredifficultplaystostageintodayrsquos world

likethe Henry VI trilogyshouldstillbeapproachedwiththemindset thatperformancewas

necessarytotheplayrsquosoriginand istherefore necessaryto itsinterpretation

Thisisnottosaythatactorsanddirectorsarenotoftenguiltyofleaningtoofartothe

oppositesideofthespectrumEspeciallyin todayrsquostheatrical climatewhereldquotraditionalrdquois

adirtyworddirectorsrsquointerpretationsand actorsrsquochoicesbasedtoomuchontheirldquogutrdquo

oftenresultinproductionsthat lackthefocusanddepththat Shakespearersquoswordsdeserve

IdeallyactorswouldrespectShakespearersquosplaysasliterature andscholarswouldrespect

themasperformance

Demonstratingthisbalancebyincludingperformative perspectivein Shakespearean

analysisiscontemporaryscholar CarolChillingtonRutterwho inherbook Enter the Body

Women and Representation on Shakespearersquos Stagediscussestheactorasreallivingbody

andespeciallyfocusesonplaysorscenes inwhichable‐bodied actors portraydisabledor

deadcharactersldquoArealbodyfakestherole ofboguscorpserdquo(2)Thisanalysis hasbroader

implications forShakespearestudiesClearlyitisimportant tolookatShakespearersquos

Ganger12

characters asldquorealrdquo2 becauseofShakespearersquos understandingofhumannatureor

complexityinhisportrayal(bothof whicharecertainly part ofthereasonShakespearersquos

characters shouldbeconsidered realpeople)butbecausetheyare livingbodies Real

peopleembodythecharactersand therefore insomesensethey are real inaphysical

literalway AsEllenTerrystatesldquo[Anactressrsquos]taskis to learnhowto translate this

character intoherself howtomakeits thoughtsherthoughts itswordsherwordsrdquo(80)

LivingphysicalactormustabsorbShakespearersquoslanguagetopresent theliving physical

character

Ifoneconsiderstheseconcepts only hypotheticallywithouttraininginperformance

ldquotranslating[a]characterintordquo oneselfmaysoundhighlysubjectiveandemotionalin

naturewith littlemethodorreasoningrequiredThis assumptionmayaccountforsomeof

theanimositybetween performers ofShakespeareandscholarsof Shakespeare

Pragmaticallyanysolidactortrainingincludestraininginhowtomethodicallygrounda

performanceinthetextoftheworkbeingperformedThis trainingat leastinWestern

theatrewhereShakespeare isstillheldasthecornerstoneof thedramaticcanonwill

inevitablybebasedintheworks oftheseminaldirectorandactortrainerKonstantin

StanislavskiAcclaimed actor(and grandsonofEllenTerry)JohnGielguddeclares

Stanislavskitheldquoauthorityrdquoinacting method(ix)Indeed it wouldnotbetooextremeto

claimthatStanislavski istoactortrainingwhatShakespeareis to the genre of drama

Althoughheworked intheearly 1900sStanislavskirsquosmethodsareappropriatefor actors

2 Iwishthattherewasa clearer termfor whatIwant tocommunicatewhenIdiscussShakespearersquos characters as ldquorealpeoplerdquo Ofcourse Shakespearersquoscharacters are fictionalThey are certainlyeffective representationsof real people andrealreaders and audience membersthroughouthistory have identifiedthemselvesinthemTheimportantpoint of this ldquorealnessrdquoisthat theyalsohavefullthoughfictionallivesbeyondthewords on the pagejust as if one day of my life wererecordedIwould still haveafull lifebefore and after that one day

Ganger13

ofanygenreorperiodandGielgudevenspecifically insiststhatthey aresuitedto

Shakespeare(xiii)

Stanislavskirsquosmethodbywhichalmostevery otherldquomethodrdquohas sprungisbasedona

thoroughstudyandpreparationof thegiventextStanislavski callsthefirststepofa

rehearsalprocessldquoMiningthe Textrdquowhichisldquothekindof analysis[anactor]mightapplyto

ascripteithercollectivelywiththe directoror independentlyaspartof[hisorher]own

detectiveworkrdquoAlthoughmining thetextisldquoessentiallyhead‐ledworkhellipitsreverberations

areprofoundlypsycho‐physicalrdquo(Merlin55)This mining the text isessentiallyclose‐

readingrequiringanactortodiscoverevery possibleclueaplaywrighthasleftforhimor

heraboutacharacter fromwhichtothendevelopandembodyThetermldquogiven

circumstancesrdquoapplies totheeventsoftheplayorthespecificwordsonthepageInorder

totruthfullydevelopa characterStanislavski instructsthat itisldquonecessarytofindoutwhat

underlies[thegivencircumstancesofaplay]gaveriseto themishiddenbehindthemrdquo

(18)TheideaofanteriorspeculationasKnightswouldsayasaconceptremovedfromthe

scriptmdashmerelythefancifulimaginingsofawishfulactormdashcontradictstheveryfoundation

ofanyactortrainingAnylife that anactor imaginesforhis orhercharacterthathas

occurredoffstageofwhichthere arenowrittenwordsmustnecessarilybederivedand

supportedfullybythetext

Iwillprovideabriefexampleof thethoughtprocessanactor mightgothroughin

mining the textwhichcomesfromHarveyRovinersquosbook Silence in Shakespeare Drama

Power and GenderItislargelyalinguistic analysisasthebookfocusesonhow

Shakespeareusesmetertodirecthisactors(anotherconceptany trainedShakespearean

actorwouldbefamiliarwith)Shakespearersquosmeterisone ofthemany aspectsofthescript

Ganger14

thatmightprovidesignificantinformationabouttheactionsonstageldquoShortlinesrdquoor

incomplete linesof iambicpentametercanbeapproachedbyreaders andperformersas

ldquosharingrdquotheverseor by pausing

Thepassage Rovineanalyzesis from Act1Scene7ofMacbeth

LADYMACBETHhellipAnddashrsquodthebrainsouthadIsosworn

Asyouhavedonetothis

MACBETH Ifweshouldfail

LADY MACBETH We fail

Butscrewyourcouragetothestickingplacehellip

Rovinersquosanalysiscontinues

AsIinterpretthesceneMacbethrsquosquestionlsquoIf weshouldfailrsquocompletesLady

MacbethrsquosshortlinelsquoAsyouhavedonetothisrsquoImmediatelyprecedingthisexchange

Macbethhasexpressed hismisgivingsaboutthemurderbothin soliloquyandinthe

dialoguewithhiswifeandheisdeterminedlsquoto proceednofurtherin thisbusinessrsquo

WhenLadyMacbethdescribesher resolveintermsofherwillingness todashoutthe

brainsofhernursinginfantMacbethtriestoundercuther determinationbybringing

upthepossibilityoffailureAfterLadyMacbethrsquosshortline thereseemstobean

emotionally chargedsilenceastillnesswhich hangsin theair asLady Macbethdecides

onanothermoreeffectivewaytopersuadeMacbethtocarryout themurder(15)

Thisanalysisusescluesfromthetexttoimaginealivingpersondelivering theselinesThe

reading isessentiallyStanislavskianHeidentifiesldquoobjectivesrdquomdashgoalsortasksmdashand

ldquotacticsrdquomdashtheactions taken toachievesaid goalsortasksmdashthroughthecluesofthe

language(Merlin73)Ofcourse thisisnotthe onlyinterpretiveoptionforplayingthe

Ganger15

scenebuttheworking‐throughofthecharactersrsquothoughtsisa clearexampleofa

Stanislavskianprocess

Usingthetexttosupportlives outsideoftheplayisessentialtothisthesisbecause

mycentralclaimarguesthatsomeofShakespearersquoscharactershaveexperienceda trauma

offstageawayfromthe audience Thereareno writtenwordsthatshowthetrauma

occurringonlycluesthatShakespearehasleft thatitoccurredbefore atsomeprevious

timeThesecluesalonesuggestthatShakespeareknewthathis charactershadlivesbefore

theplaybeganandtheimplicationsmadebythesecluesareas valuableofevidenceasthe

textof thecluesthemselves

Thefinalingredientto thetheoryconnectingproximity traumaandShakespearersquos

characters isthe proximity Theproximityofliving audiencetoliving actorsharinga

performancespaceinfluencesthe empathyof theaudiencetoward a particularcharacter

Shakespearersquosplaysfirstoccurredasperformancesandtheaudienceldquogroundlingsrdquofar

morevocallyandphysicallyinvolved in the action of the plays thanmodernaudiences

wouldever daretobe actively participatedin theirown theatricalexperienceTodaythe

roleoftheaudienceremainsarealcomponentinShakespearersquos playsRobConkiersquosldquoRed

ButtonShakespearerdquoaddressesand refutesclaimsthatperformanceisimpenetrableto

criticismbecauseofthevariablenatureoflive performance3Heusesamethodheterms

3 PersonallyI questionedwhetherIcould discussliveperformances for this paperEveryone who studies King Lear as a work ofliteratureworksfromthe samewords on apagethat documentproviding a foundation for scholarly conversation about the playIf someonewerereadinganarticleabout thetextof King Learall theyneedisto lookto thescriptforreferenceand they wouldbeon roughlythe samepageas thewriterLiveperformancehoweverisan entirelydifferent beastEachperformanceof King Lear willbe differentmdashdifferent actors giving a differentlook andvoice to the characters different directorsgiving different staging to the scenes different budgetsandvenuesproviding varying degreesof reality to technical elementsetcFurthermoreeach performanceexists onlyfor a momentfor theparticular audience present

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger5

Thisquestionhassince clarifiedafterayearof furthermeditation andresearch

HereIintendtoseparateShakespearersquosfemalecharacters into two archetypesmdashthevictim

andthevillainShakespearersquosplays Macbeth Titus Andronicus and King Lear areideal

subjectsforthisanalysisbecausetheyare allplaysinwhich botharchetypesexistside‐by‐

sidewhosetraumascanbeeasilycomparedThroughanexplorationofmoderntrauma

andperformancetheoryIproposeanewreadingof the playsrsquofemalecharacterswherein

theaudiencersquosproximitytothe charactersrsquotraumasaffectstheirempathyforthe

characters re‐affirmingthesearchetypes

Ganger6

Act1

Laying A FoundationBackground andTheory

Cathy Caruthrsquosgroundbreaking1996work Unclaimed Experience Trauma

Narrative and History setstheprecedentfor traumatheoryasit isknowntoday Although

morecurrentscholars1 haveupdatedandcorrectedaspectsofhertheoriesto account for

morecurrentpsychologicalresearch Unclaimed Experience remains seminaltotheliterary

studyoftrauma

ThetermldquotraumardquofromtheGreekoriginallyreferredtoaphysicalinjuryor

woundalthoughFreudrsquosworkre‐defined theterm asldquoawoundinflictednotuponthebody

butuponthemindrdquo(Caruth3)CaruthusesFreudtoestablishherpremisethatatraumatic

eventthatoccursinisolation isprocessedinsuchawaythat causesprolonged

psychologicalsuffering different thanthatwhichdoesnotoccurinisolationThefollowing

excerptexplainshowCaruthcametothisconclusion

Inthethirdchapterof Beyond the Pleasure PrincipleFreuddescribes apatternof

suffering thatis inexplicablypersistent in thelivesofcertain individualsPerplexed

byterrifyinglyliteralnightmaresofbattlefield survivorsand therepetitive

reenactmentsofpeoplewhohaveexperienced painfuleventsFreud wonders at the

peculiarandsometimesuncannywayin whichcatastrophicevents seemtorepeat

themselvesforthosewhohavepassedthroughthem(1)

1 HarvardUniversityprofessorof psychologyRichardMcNally attacks Caruthrsquos claims of traumatic amnesia (a topic thatI amnotworkingwithinthispaper)but hisemphasisis inreal‐world psychology whereas Caruthwrites aboutliterary charactersBostonUniversitylecturerinthehumanities JoshuaPedersonrsquos revisedtheory isamorevaluableresourceforupdating Unclaimed Experiencebuthisarticle merelyexpands uponCaruthrsquos workwithoutattempting to discreditit

Ganger7

CaruthinterpretsFreudrsquosldquorepetitivereenactmentsrdquoasldquoahuman voicethatcriesoutfrom

thewoundrdquo(3)Asthesubtitle ofherbooksuggestsCaruthemphasizespersonal

narrativemdasheachldquowoundrdquoisastory thatneeds tobetoldbythe person whoexperiencesit

Ofcoursethisalsoimpliesthat thesuffererneedsalistenerawitnessanaudiencetohear

hisorherstoryHertheoryasserts thathiddentraumaneedstobeexpressedinorderfor

thesufferertobeabletohealandnotreplaytheviciouscycleForShakespearersquos

characters performancesprovide aphysicalliteraloutletfor thistheorytoplayout

Charactersrsquo traumaticexperiences eitheroccuronstageor offstage eitherhiddenfromthe

audienceor sharedwiththeaudienceThose characters whosetraumasarehiddenfrom

theaudiencecryoutfromthewoundthroughtheiractionswithouteverbeingheard

whereas thosecharacterswhosetraumasare sharedwiththeaudienceescapethefate of

repeatingthemandusuallyfind someformofhealingorveneration

Theremay besomequestion asto whethermoderntraumatheorycaningood

consciencebeappliedtoclassicalcharacters Menachem Ben‐EzraprofessorattheSchool

ofSocialWorkatthe ArielUniversityCenterofSamariainhisreviewofliterarytrauma

identifies thevalidityofapplyingmoderntheory toancient texts findingsubstantial

evidence for psychologicaltrauma datingback toantiquityHe even pointstosleep

disordersinShakespeareas asymptomofPTSD(235)Thisisa directexamplefromoneof

theplaysunderanalysisin this papermdashLady MacbethrsquosfamoussleepwalkingsceneBen‐

Ezrarsquosarticlefocusesonclassicliteraturemoreasproofthat post‐traumaticstressisa

conditionthathasexistedsince antiquityand lessasastudy oftheliterarycharacters

themselves

Ganger8

ApplyingthesetheoriestoShakespearersquoscharactersrequiresa certainamount of

psychoanalysisoratleasttheadmission thatfictionalcharactershavesufficient

psychologicalcomplexitytoreadastraumasufferersScholars have beendividedonthe

answertothisquestionsince the early20th century

LCKnightsaShakespearescholarwriting in the1930s reactedstronglyagainst

whatheconsideredthe then‐populartrendof over‐emphasizingShakespearersquos

psychologicalrealismneglecting whatKnightsconsideredfarmoreimportantmdash

Shakespearersquospoetry HisfamousessayldquoHow ManyChildrenHadLadyMacbethrdquodirectly

arguesagainstthecriticismthatconcerns itselfwithShakespearersquoscharactersand

especiallyagainstthosethatworkunderthepremisethatShakespearersquoscharactersare

ldquorealpeoplerdquoHisassertion

TheonlyprofitableapproachtoShakespeare isaconsideration of hisplaysas

dramaticpoemsofhisuseoflanguagetoobtainatotalcomplexemotional

responseYetthebulkofShakespearecriticismisconcernedwithhischaractershis

heroineshisloveofNatureor hislsquophilosophyrsquomdashwitheverything inshortexcept

thewordson thepagewhichitisthemainbusinessof the critictoexamine(11)

Hisessaycriticizeshis contemporariesespeciallyEllenTerry anactressandscholarwho

inherlecturesldquoexercisesextensivelsquoanterior speculationrsquoby asking questionslike

lsquowhetherPortiaorBellariothoughtofthefamousquibblersquo orlsquohowdidtheBoyin HenryV

learntospeakFrenchrsquordquo(Knights3)ECPettetnicelydefinesthis termldquoanterior

speculationrdquoastheldquocriticalgameofconstructingaworld outsidethe givenmaterialofthe

playrdquo(192)Pettetwas writingthirtyyearsafterKnights and yethisbook Shakespeare and

Ganger9

the Romance Tradition holdsfirmlytoKnightsrsquosauthorityinhowtoapproacha

Shakespeareantext

KnightsmarksavitalriftinthefieldofShakespearestudiesHisinfluenceshould

notbeunderestimated LeonardF Deanrsquos1958articleldquoMacbeth andModernCriticismrdquo

describesKnightsrsquosarticleasa majormovementinShakespeareancriticismand Norman

Hollandrsquosbook Psychoanalysis and Shakespeare callsKnightsrsquosessaytheldquolocus classicusrdquoof

Shakespearestudies(296)Today criticslike Pascale Aebischerin Shakespearersquos Violated

Bodies Stage and Screen Performance continue touseKnightsrsquosframeworktodismiss

performersrsquotendencies totreat the characters asrealpeople AebischerobservesldquoAs

recentproductionsof King Lear showthetype ofreading that in academiawas discredited

byLCKnightsaslongagoas1933 seemstothrive intodayrsquos mainstreamtheatre that

generallyseemstobecenteredon lsquotruthfulrsquocharacterratherthanplotrdquo(176)Idonrsquot

understandwhythetwoaremutuallyexclusivebutitappearsthatthereis a riftinhowwe

thinkaboutShakespearemdashone thatif Aebischerrsquoscommentsareany indication arerife

withcondescension for theopposingopinion Knightsrsquosessayheavy withcondescension

itselfmay havebeen thedivisive workthatdrewasharp line betweenShakespeare‐as‐

LiteratureandShakespeare‐as‐Performancea linethat stillexiststodayHislegacyhaunts

performersandotherShakespeareanscholarswhoseoftenmorehumanized three‐

dimensionalinterpretationsofShakespearersquos characters aredismissedaschildish

imagination

ThoughKnightswould certainly balkatmyquestionsabouttraumaand

ShakespearersquoscharactersEllen Terryandthecriticsthatalso viewShakespearethrough

thelensof performancewouldlikelyagreethatShakespearersquoscharactersarevalid

Ganger10

candidates forpsychoanlysisSomeofthesecriticswritingthroughoutthelastcentury

includeJohnRusselBrownandArthurColbySpraguewhowerebothwritinginthe1960s

contemporariestoDean and PettetandarguedthatShakespeare cannotbeseparated from

performanceand insistedthathisrealhumancharacterswere themostimportantaspect

ofhisplaysontheElizabethanstage

Perhapsthemostwell‐knowncriticinthistraditionpolarizingashis extremeviews

maybeisHaroldBloomauthorof Shakespeare Invention of the HumanAshis title

suggestsBloomarguesthatShakespeare inventedcharacterpersonalityandWestern

identityasitisunderstoodtodayKnightsrsquosmainargumentis thatShakespeareshouldbe

studiedprimarilyasa poetThoughBloomadmitsShakespearersquos linguisticsuperiorityhe

holdsthatShakespearersquospoetry isnotwhathasmadehislastingimpactItrsquosthe people in

hisplaysmdashhischaractersmdashthathaveaffectedcivilizationandshaped Western culture

Bloomjustifieshispriorityof characterbyexplainingthatldquo[Shakespearersquos]few peersmdash

HomertheYahwistDanteChaucerCervantesTolstoyperhaps Dickensmdashremind usthat

therepresentationofhumancharacterandpersonalityremainsalwaysthesupreme

literaryvaluewhetherin dramalyricornarrativerdquo(3‐4) Inotherwordstheelementthat

makesaworkofliteratureendure throughthecenturiesthatmakesanimpacton history

isprimarilytheportrayalofhumanityandcharacterHow could Bloomdisapproveof

applyingtraumatheorytoShakespearersquoscharacterswhenheviewsthemassuchcomplete

andrealpeople

Unfortunatelythedividebetweenliteratureandperformancepersists even with

BloomInhisstudyofShakespearersquosplaysheforgetsorignoresthatthemediumof

performanceisas importantaway ofexperiencingandstudying Shakespeareas isreading

Ganger11

fromthepageOf King LearBloomsaysldquoIemphasizereadingmore thaneverbecauseI

haveattendedmanystagingsof King Lear andinvariably haveregrettedbeingthereOur

directorsandactorsaredefeated bythisplayandIbeginsadlytoagreehellipthatweoughtto

keeprereading King Lear andavoiditsstaged travestiesrdquo (476)This argument is patently

illogicalSimplybecauseonehas neverseen a performancethat meetshisorher

expectations doesnotjustifydivorcingthehistoricalreality thatShakespearersquosworkswere

originallyperformed King Learorevenfarmoredifficultplaystostageintodayrsquos world

likethe Henry VI trilogyshouldstillbeapproachedwiththemindset thatperformancewas

necessarytotheplayrsquosoriginand istherefore necessaryto itsinterpretation

Thisisnottosaythatactorsanddirectorsarenotoftenguiltyofleaningtoofartothe

oppositesideofthespectrumEspeciallyin todayrsquostheatrical climatewhereldquotraditionalrdquois

adirtyworddirectorsrsquointerpretationsand actorsrsquochoicesbasedtoomuchontheirldquogutrdquo

oftenresultinproductionsthat lackthefocusanddepththat Shakespearersquoswordsdeserve

IdeallyactorswouldrespectShakespearersquosplaysasliterature andscholarswouldrespect

themasperformance

Demonstratingthisbalancebyincludingperformative perspectivein Shakespearean

analysisiscontemporaryscholar CarolChillingtonRutterwho inherbook Enter the Body

Women and Representation on Shakespearersquos Stagediscussestheactorasreallivingbody

andespeciallyfocusesonplaysorscenes inwhichable‐bodied actors portraydisabledor

deadcharactersldquoArealbodyfakestherole ofboguscorpserdquo(2)Thisanalysis hasbroader

implications forShakespearestudiesClearlyitisimportant tolookatShakespearersquos

Ganger12

characters asldquorealrdquo2 becauseofShakespearersquos understandingofhumannatureor

complexityinhisportrayal(bothof whicharecertainly part ofthereasonShakespearersquos

characters shouldbeconsidered realpeople)butbecausetheyare livingbodies Real

peopleembodythecharactersand therefore insomesensethey are real inaphysical

literalway AsEllenTerrystatesldquo[Anactressrsquos]taskis to learnhowto translate this

character intoherself howtomakeits thoughtsherthoughts itswordsherwordsrdquo(80)

LivingphysicalactormustabsorbShakespearersquoslanguagetopresent theliving physical

character

Ifoneconsiderstheseconcepts only hypotheticallywithouttraininginperformance

ldquotranslating[a]characterintordquo oneselfmaysoundhighlysubjectiveandemotionalin

naturewith littlemethodorreasoningrequiredThis assumptionmayaccountforsomeof

theanimositybetween performers ofShakespeareandscholarsof Shakespeare

Pragmaticallyanysolidactortrainingincludestraininginhowtomethodicallygrounda

performanceinthetextoftheworkbeingperformedThis trainingat leastinWestern

theatrewhereShakespeare isstillheldasthecornerstoneof thedramaticcanonwill

inevitablybebasedintheworks oftheseminaldirectorandactortrainerKonstantin

StanislavskiAcclaimed actor(and grandsonofEllenTerry)JohnGielguddeclares

Stanislavskitheldquoauthorityrdquoinacting method(ix)Indeed it wouldnotbetooextremeto

claimthatStanislavski istoactortrainingwhatShakespeareis to the genre of drama

Althoughheworked intheearly 1900sStanislavskirsquosmethodsareappropriatefor actors

2 Iwishthattherewasa clearer termfor whatIwant tocommunicatewhenIdiscussShakespearersquos characters as ldquorealpeoplerdquo Ofcourse Shakespearersquoscharacters are fictionalThey are certainlyeffective representationsof real people andrealreaders and audience membersthroughouthistory have identifiedthemselvesinthemTheimportantpoint of this ldquorealnessrdquoisthat theyalsohavefullthoughfictionallivesbeyondthewords on the pagejust as if one day of my life wererecordedIwould still haveafull lifebefore and after that one day

Ganger13

ofanygenreorperiodandGielgudevenspecifically insiststhatthey aresuitedto

Shakespeare(xiii)

Stanislavskirsquosmethodbywhichalmostevery otherldquomethodrdquohas sprungisbasedona

thoroughstudyandpreparationof thegiventextStanislavski callsthefirststepofa

rehearsalprocessldquoMiningthe Textrdquowhichisldquothekindof analysis[anactor]mightapplyto

ascripteithercollectivelywiththe directoror independentlyaspartof[hisorher]own

detectiveworkrdquoAlthoughmining thetextisldquoessentiallyhead‐ledworkhellipitsreverberations

areprofoundlypsycho‐physicalrdquo(Merlin55)This mining the text isessentiallyclose‐

readingrequiringanactortodiscoverevery possibleclueaplaywrighthasleftforhimor

heraboutacharacter fromwhichtothendevelopandembodyThetermldquogiven

circumstancesrdquoapplies totheeventsoftheplayorthespecificwordsonthepageInorder

totruthfullydevelopa characterStanislavski instructsthat itisldquonecessarytofindoutwhat

underlies[thegivencircumstancesofaplay]gaveriseto themishiddenbehindthemrdquo

(18)TheideaofanteriorspeculationasKnightswouldsayasaconceptremovedfromthe

scriptmdashmerelythefancifulimaginingsofawishfulactormdashcontradictstheveryfoundation

ofanyactortrainingAnylife that anactor imaginesforhis orhercharacterthathas

occurredoffstageofwhichthere arenowrittenwordsmustnecessarilybederivedand

supportedfullybythetext

Iwillprovideabriefexampleof thethoughtprocessanactor mightgothroughin

mining the textwhichcomesfromHarveyRovinersquosbook Silence in Shakespeare Drama

Power and GenderItislargelyalinguistic analysisasthebookfocusesonhow

Shakespeareusesmetertodirecthisactors(anotherconceptany trainedShakespearean

actorwouldbefamiliarwith)Shakespearersquosmeterisone ofthemany aspectsofthescript

Ganger14

thatmightprovidesignificantinformationabouttheactionsonstageldquoShortlinesrdquoor

incomplete linesof iambicpentametercanbeapproachedbyreaders andperformersas

ldquosharingrdquotheverseor by pausing

Thepassage Rovineanalyzesis from Act1Scene7ofMacbeth

LADYMACBETHhellipAnddashrsquodthebrainsouthadIsosworn

Asyouhavedonetothis

MACBETH Ifweshouldfail

LADY MACBETH We fail

Butscrewyourcouragetothestickingplacehellip

Rovinersquosanalysiscontinues

AsIinterpretthesceneMacbethrsquosquestionlsquoIf weshouldfailrsquocompletesLady

MacbethrsquosshortlinelsquoAsyouhavedonetothisrsquoImmediatelyprecedingthisexchange

Macbethhasexpressed hismisgivingsaboutthemurderbothin soliloquyandinthe

dialoguewithhiswifeandheisdeterminedlsquoto proceednofurtherin thisbusinessrsquo

WhenLadyMacbethdescribesher resolveintermsofherwillingness todashoutthe

brainsofhernursinginfantMacbethtriestoundercuther determinationbybringing

upthepossibilityoffailureAfterLadyMacbethrsquosshortline thereseemstobean

emotionally chargedsilenceastillnesswhich hangsin theair asLady Macbethdecides

onanothermoreeffectivewaytopersuadeMacbethtocarryout themurder(15)

Thisanalysisusescluesfromthetexttoimaginealivingpersondelivering theselinesThe

reading isessentiallyStanislavskianHeidentifiesldquoobjectivesrdquomdashgoalsortasksmdashand

ldquotacticsrdquomdashtheactions taken toachievesaid goalsortasksmdashthroughthecluesofthe

language(Merlin73)Ofcourse thisisnotthe onlyinterpretiveoptionforplayingthe

Ganger15

scenebuttheworking‐throughofthecharactersrsquothoughtsisa clearexampleofa

Stanislavskianprocess

Usingthetexttosupportlives outsideoftheplayisessentialtothisthesisbecause

mycentralclaimarguesthatsomeofShakespearersquoscharactershaveexperienceda trauma

offstageawayfromthe audience Thereareno writtenwordsthatshowthetrauma

occurringonlycluesthatShakespearehasleft thatitoccurredbefore atsomeprevious

timeThesecluesalonesuggestthatShakespeareknewthathis charactershadlivesbefore

theplaybeganandtheimplicationsmadebythesecluesareas valuableofevidenceasthe

textof thecluesthemselves

Thefinalingredientto thetheoryconnectingproximity traumaandShakespearersquos

characters isthe proximity Theproximityofliving audiencetoliving actorsharinga

performancespaceinfluencesthe empathyof theaudiencetoward a particularcharacter

Shakespearersquosplaysfirstoccurredasperformancesandtheaudienceldquogroundlingsrdquofar

morevocallyandphysicallyinvolved in the action of the plays thanmodernaudiences

wouldever daretobe actively participatedin theirown theatricalexperienceTodaythe

roleoftheaudienceremainsarealcomponentinShakespearersquos playsRobConkiersquosldquoRed

ButtonShakespearerdquoaddressesand refutesclaimsthatperformanceisimpenetrableto

criticismbecauseofthevariablenatureoflive performance3Heusesamethodheterms

3 PersonallyI questionedwhetherIcould discussliveperformances for this paperEveryone who studies King Lear as a work ofliteratureworksfromthe samewords on apagethat documentproviding a foundation for scholarly conversation about the playIf someonewerereadinganarticleabout thetextof King Learall theyneedisto lookto thescriptforreferenceand they wouldbeon roughlythe samepageas thewriterLiveperformancehoweverisan entirelydifferent beastEachperformanceof King Lear willbe differentmdashdifferent actors giving a differentlook andvoice to the characters different directorsgiving different staging to the scenes different budgetsandvenuesproviding varying degreesof reality to technical elementsetcFurthermoreeach performanceexists onlyfor a momentfor theparticular audience present

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger6

Act1

Laying A FoundationBackground andTheory

Cathy Caruthrsquosgroundbreaking1996work Unclaimed Experience Trauma

Narrative and History setstheprecedentfor traumatheoryasit isknowntoday Although

morecurrentscholars1 haveupdatedandcorrectedaspectsofhertheoriesto account for

morecurrentpsychologicalresearch Unclaimed Experience remains seminaltotheliterary

studyoftrauma

ThetermldquotraumardquofromtheGreekoriginallyreferredtoaphysicalinjuryor

woundalthoughFreudrsquosworkre‐defined theterm asldquoawoundinflictednotuponthebody

butuponthemindrdquo(Caruth3)CaruthusesFreudtoestablishherpremisethatatraumatic

eventthatoccursinisolation isprocessedinsuchawaythat causesprolonged

psychologicalsuffering different thanthatwhichdoesnotoccurinisolationThefollowing

excerptexplainshowCaruthcametothisconclusion

Inthethirdchapterof Beyond the Pleasure PrincipleFreuddescribes apatternof

suffering thatis inexplicablypersistent in thelivesofcertain individualsPerplexed

byterrifyinglyliteralnightmaresofbattlefield survivorsand therepetitive

reenactmentsofpeoplewhohaveexperienced painfuleventsFreud wonders at the

peculiarandsometimesuncannywayin whichcatastrophicevents seemtorepeat

themselvesforthosewhohavepassedthroughthem(1)

1 HarvardUniversityprofessorof psychologyRichardMcNally attacks Caruthrsquos claims of traumatic amnesia (a topic thatI amnotworkingwithinthispaper)but hisemphasisis inreal‐world psychology whereas Caruthwrites aboutliterary charactersBostonUniversitylecturerinthehumanities JoshuaPedersonrsquos revisedtheory isamorevaluableresourceforupdating Unclaimed Experiencebuthisarticle merelyexpands uponCaruthrsquos workwithoutattempting to discreditit

Ganger7

CaruthinterpretsFreudrsquosldquorepetitivereenactmentsrdquoasldquoahuman voicethatcriesoutfrom

thewoundrdquo(3)Asthesubtitle ofherbooksuggestsCaruthemphasizespersonal

narrativemdasheachldquowoundrdquoisastory thatneeds tobetoldbythe person whoexperiencesit

Ofcoursethisalsoimpliesthat thesuffererneedsalistenerawitnessanaudiencetohear

hisorherstoryHertheoryasserts thathiddentraumaneedstobeexpressedinorderfor

thesufferertobeabletohealandnotreplaytheviciouscycleForShakespearersquos

characters performancesprovide aphysicalliteraloutletfor thistheorytoplayout

Charactersrsquo traumaticexperiences eitheroccuronstageor offstage eitherhiddenfromthe

audienceor sharedwiththeaudienceThose characters whosetraumasarehiddenfrom

theaudiencecryoutfromthewoundthroughtheiractionswithouteverbeingheard

whereas thosecharacterswhosetraumasare sharedwiththeaudienceescapethefate of

repeatingthemandusuallyfind someformofhealingorveneration

Theremay besomequestion asto whethermoderntraumatheorycaningood

consciencebeappliedtoclassicalcharacters Menachem Ben‐EzraprofessorattheSchool

ofSocialWorkatthe ArielUniversityCenterofSamariainhisreviewofliterarytrauma

identifies thevalidityofapplyingmoderntheory toancient texts findingsubstantial

evidence for psychologicaltrauma datingback toantiquityHe even pointstosleep

disordersinShakespeareas asymptomofPTSD(235)Thisisa directexamplefromoneof

theplaysunderanalysisin this papermdashLady MacbethrsquosfamoussleepwalkingsceneBen‐

Ezrarsquosarticlefocusesonclassicliteraturemoreasproofthat post‐traumaticstressisa

conditionthathasexistedsince antiquityand lessasastudy oftheliterarycharacters

themselves

Ganger8

ApplyingthesetheoriestoShakespearersquoscharactersrequiresa certainamount of

psychoanalysisoratleasttheadmission thatfictionalcharactershavesufficient

psychologicalcomplexitytoreadastraumasufferersScholars have beendividedonthe

answertothisquestionsince the early20th century

LCKnightsaShakespearescholarwriting in the1930s reactedstronglyagainst

whatheconsideredthe then‐populartrendof over‐emphasizingShakespearersquos

psychologicalrealismneglecting whatKnightsconsideredfarmoreimportantmdash

Shakespearersquospoetry HisfamousessayldquoHow ManyChildrenHadLadyMacbethrdquodirectly

arguesagainstthecriticismthatconcerns itselfwithShakespearersquoscharactersand

especiallyagainstthosethatworkunderthepremisethatShakespearersquoscharactersare

ldquorealpeoplerdquoHisassertion

TheonlyprofitableapproachtoShakespeare isaconsideration of hisplaysas

dramaticpoemsofhisuseoflanguagetoobtainatotalcomplexemotional

responseYetthebulkofShakespearecriticismisconcernedwithhischaractershis

heroineshisloveofNatureor hislsquophilosophyrsquomdashwitheverything inshortexcept

thewordson thepagewhichitisthemainbusinessof the critictoexamine(11)

Hisessaycriticizeshis contemporariesespeciallyEllenTerry anactressandscholarwho

inherlecturesldquoexercisesextensivelsquoanterior speculationrsquoby asking questionslike

lsquowhetherPortiaorBellariothoughtofthefamousquibblersquo orlsquohowdidtheBoyin HenryV

learntospeakFrenchrsquordquo(Knights3)ECPettetnicelydefinesthis termldquoanterior

speculationrdquoastheldquocriticalgameofconstructingaworld outsidethe givenmaterialofthe

playrdquo(192)Pettetwas writingthirtyyearsafterKnights and yethisbook Shakespeare and

Ganger9

the Romance Tradition holdsfirmlytoKnightsrsquosauthorityinhowtoapproacha

Shakespeareantext

KnightsmarksavitalriftinthefieldofShakespearestudiesHisinfluenceshould

notbeunderestimated LeonardF Deanrsquos1958articleldquoMacbeth andModernCriticismrdquo

describesKnightsrsquosarticleasa majormovementinShakespeareancriticismand Norman

Hollandrsquosbook Psychoanalysis and Shakespeare callsKnightsrsquosessaytheldquolocus classicusrdquoof

Shakespearestudies(296)Today criticslike Pascale Aebischerin Shakespearersquos Violated

Bodies Stage and Screen Performance continue touseKnightsrsquosframeworktodismiss

performersrsquotendencies totreat the characters asrealpeople AebischerobservesldquoAs

recentproductionsof King Lear showthetype ofreading that in academiawas discredited

byLCKnightsaslongagoas1933 seemstothrive intodayrsquos mainstreamtheatre that

generallyseemstobecenteredon lsquotruthfulrsquocharacterratherthanplotrdquo(176)Idonrsquot

understandwhythetwoaremutuallyexclusivebutitappearsthatthereis a riftinhowwe

thinkaboutShakespearemdashone thatif Aebischerrsquoscommentsareany indication arerife

withcondescension for theopposingopinion Knightsrsquosessayheavy withcondescension

itselfmay havebeen thedivisive workthatdrewasharp line betweenShakespeare‐as‐

LiteratureandShakespeare‐as‐Performancea linethat stillexiststodayHislegacyhaunts

performersandotherShakespeareanscholarswhoseoftenmorehumanized three‐

dimensionalinterpretationsofShakespearersquos characters aredismissedaschildish

imagination

ThoughKnightswould certainly balkatmyquestionsabouttraumaand

ShakespearersquoscharactersEllen Terryandthecriticsthatalso viewShakespearethrough

thelensof performancewouldlikelyagreethatShakespearersquoscharactersarevalid

Ganger10

candidates forpsychoanlysisSomeofthesecriticswritingthroughoutthelastcentury

includeJohnRusselBrownandArthurColbySpraguewhowerebothwritinginthe1960s

contemporariestoDean and PettetandarguedthatShakespeare cannotbeseparated from

performanceand insistedthathisrealhumancharacterswere themostimportantaspect

ofhisplaysontheElizabethanstage

Perhapsthemostwell‐knowncriticinthistraditionpolarizingashis extremeviews

maybeisHaroldBloomauthorof Shakespeare Invention of the HumanAshis title

suggestsBloomarguesthatShakespeare inventedcharacterpersonalityandWestern

identityasitisunderstoodtodayKnightsrsquosmainargumentis thatShakespeareshouldbe

studiedprimarilyasa poetThoughBloomadmitsShakespearersquos linguisticsuperiorityhe

holdsthatShakespearersquospoetry isnotwhathasmadehislastingimpactItrsquosthe people in

hisplaysmdashhischaractersmdashthathaveaffectedcivilizationandshaped Western culture

Bloomjustifieshispriorityof characterbyexplainingthatldquo[Shakespearersquos]few peersmdash

HomertheYahwistDanteChaucerCervantesTolstoyperhaps Dickensmdashremind usthat

therepresentationofhumancharacterandpersonalityremainsalwaysthesupreme

literaryvaluewhetherin dramalyricornarrativerdquo(3‐4) Inotherwordstheelementthat

makesaworkofliteratureendure throughthecenturiesthatmakesanimpacton history

isprimarilytheportrayalofhumanityandcharacterHow could Bloomdisapproveof

applyingtraumatheorytoShakespearersquoscharacterswhenheviewsthemassuchcomplete

andrealpeople

Unfortunatelythedividebetweenliteratureandperformancepersists even with

BloomInhisstudyofShakespearersquosplaysheforgetsorignoresthatthemediumof

performanceisas importantaway ofexperiencingandstudying Shakespeareas isreading

Ganger11

fromthepageOf King LearBloomsaysldquoIemphasizereadingmore thaneverbecauseI

haveattendedmanystagingsof King Lear andinvariably haveregrettedbeingthereOur

directorsandactorsaredefeated bythisplayandIbeginsadlytoagreehellipthatweoughtto

keeprereading King Lear andavoiditsstaged travestiesrdquo (476)This argument is patently

illogicalSimplybecauseonehas neverseen a performancethat meetshisorher

expectations doesnotjustifydivorcingthehistoricalreality thatShakespearersquosworkswere

originallyperformed King Learorevenfarmoredifficultplaystostageintodayrsquos world

likethe Henry VI trilogyshouldstillbeapproachedwiththemindset thatperformancewas

necessarytotheplayrsquosoriginand istherefore necessaryto itsinterpretation

Thisisnottosaythatactorsanddirectorsarenotoftenguiltyofleaningtoofartothe

oppositesideofthespectrumEspeciallyin todayrsquostheatrical climatewhereldquotraditionalrdquois

adirtyworddirectorsrsquointerpretationsand actorsrsquochoicesbasedtoomuchontheirldquogutrdquo

oftenresultinproductionsthat lackthefocusanddepththat Shakespearersquoswordsdeserve

IdeallyactorswouldrespectShakespearersquosplaysasliterature andscholarswouldrespect

themasperformance

Demonstratingthisbalancebyincludingperformative perspectivein Shakespearean

analysisiscontemporaryscholar CarolChillingtonRutterwho inherbook Enter the Body

Women and Representation on Shakespearersquos Stagediscussestheactorasreallivingbody

andespeciallyfocusesonplaysorscenes inwhichable‐bodied actors portraydisabledor

deadcharactersldquoArealbodyfakestherole ofboguscorpserdquo(2)Thisanalysis hasbroader

implications forShakespearestudiesClearlyitisimportant tolookatShakespearersquos

Ganger12

characters asldquorealrdquo2 becauseofShakespearersquos understandingofhumannatureor

complexityinhisportrayal(bothof whicharecertainly part ofthereasonShakespearersquos

characters shouldbeconsidered realpeople)butbecausetheyare livingbodies Real

peopleembodythecharactersand therefore insomesensethey are real inaphysical

literalway AsEllenTerrystatesldquo[Anactressrsquos]taskis to learnhowto translate this

character intoherself howtomakeits thoughtsherthoughts itswordsherwordsrdquo(80)

LivingphysicalactormustabsorbShakespearersquoslanguagetopresent theliving physical

character

Ifoneconsiderstheseconcepts only hypotheticallywithouttraininginperformance

ldquotranslating[a]characterintordquo oneselfmaysoundhighlysubjectiveandemotionalin

naturewith littlemethodorreasoningrequiredThis assumptionmayaccountforsomeof

theanimositybetween performers ofShakespeareandscholarsof Shakespeare

Pragmaticallyanysolidactortrainingincludestraininginhowtomethodicallygrounda

performanceinthetextoftheworkbeingperformedThis trainingat leastinWestern

theatrewhereShakespeare isstillheldasthecornerstoneof thedramaticcanonwill

inevitablybebasedintheworks oftheseminaldirectorandactortrainerKonstantin

StanislavskiAcclaimed actor(and grandsonofEllenTerry)JohnGielguddeclares

Stanislavskitheldquoauthorityrdquoinacting method(ix)Indeed it wouldnotbetooextremeto

claimthatStanislavski istoactortrainingwhatShakespeareis to the genre of drama

Althoughheworked intheearly 1900sStanislavskirsquosmethodsareappropriatefor actors

2 Iwishthattherewasa clearer termfor whatIwant tocommunicatewhenIdiscussShakespearersquos characters as ldquorealpeoplerdquo Ofcourse Shakespearersquoscharacters are fictionalThey are certainlyeffective representationsof real people andrealreaders and audience membersthroughouthistory have identifiedthemselvesinthemTheimportantpoint of this ldquorealnessrdquoisthat theyalsohavefullthoughfictionallivesbeyondthewords on the pagejust as if one day of my life wererecordedIwould still haveafull lifebefore and after that one day

Ganger13

ofanygenreorperiodandGielgudevenspecifically insiststhatthey aresuitedto

Shakespeare(xiii)

Stanislavskirsquosmethodbywhichalmostevery otherldquomethodrdquohas sprungisbasedona

thoroughstudyandpreparationof thegiventextStanislavski callsthefirststepofa

rehearsalprocessldquoMiningthe Textrdquowhichisldquothekindof analysis[anactor]mightapplyto

ascripteithercollectivelywiththe directoror independentlyaspartof[hisorher]own

detectiveworkrdquoAlthoughmining thetextisldquoessentiallyhead‐ledworkhellipitsreverberations

areprofoundlypsycho‐physicalrdquo(Merlin55)This mining the text isessentiallyclose‐

readingrequiringanactortodiscoverevery possibleclueaplaywrighthasleftforhimor

heraboutacharacter fromwhichtothendevelopandembodyThetermldquogiven

circumstancesrdquoapplies totheeventsoftheplayorthespecificwordsonthepageInorder

totruthfullydevelopa characterStanislavski instructsthat itisldquonecessarytofindoutwhat

underlies[thegivencircumstancesofaplay]gaveriseto themishiddenbehindthemrdquo

(18)TheideaofanteriorspeculationasKnightswouldsayasaconceptremovedfromthe

scriptmdashmerelythefancifulimaginingsofawishfulactormdashcontradictstheveryfoundation

ofanyactortrainingAnylife that anactor imaginesforhis orhercharacterthathas

occurredoffstageofwhichthere arenowrittenwordsmustnecessarilybederivedand

supportedfullybythetext

Iwillprovideabriefexampleof thethoughtprocessanactor mightgothroughin

mining the textwhichcomesfromHarveyRovinersquosbook Silence in Shakespeare Drama

Power and GenderItislargelyalinguistic analysisasthebookfocusesonhow

Shakespeareusesmetertodirecthisactors(anotherconceptany trainedShakespearean

actorwouldbefamiliarwith)Shakespearersquosmeterisone ofthemany aspectsofthescript

Ganger14

thatmightprovidesignificantinformationabouttheactionsonstageldquoShortlinesrdquoor

incomplete linesof iambicpentametercanbeapproachedbyreaders andperformersas

ldquosharingrdquotheverseor by pausing

Thepassage Rovineanalyzesis from Act1Scene7ofMacbeth

LADYMACBETHhellipAnddashrsquodthebrainsouthadIsosworn

Asyouhavedonetothis

MACBETH Ifweshouldfail

LADY MACBETH We fail

Butscrewyourcouragetothestickingplacehellip

Rovinersquosanalysiscontinues

AsIinterpretthesceneMacbethrsquosquestionlsquoIf weshouldfailrsquocompletesLady

MacbethrsquosshortlinelsquoAsyouhavedonetothisrsquoImmediatelyprecedingthisexchange

Macbethhasexpressed hismisgivingsaboutthemurderbothin soliloquyandinthe

dialoguewithhiswifeandheisdeterminedlsquoto proceednofurtherin thisbusinessrsquo

WhenLadyMacbethdescribesher resolveintermsofherwillingness todashoutthe

brainsofhernursinginfantMacbethtriestoundercuther determinationbybringing

upthepossibilityoffailureAfterLadyMacbethrsquosshortline thereseemstobean

emotionally chargedsilenceastillnesswhich hangsin theair asLady Macbethdecides

onanothermoreeffectivewaytopersuadeMacbethtocarryout themurder(15)

Thisanalysisusescluesfromthetexttoimaginealivingpersondelivering theselinesThe

reading isessentiallyStanislavskianHeidentifiesldquoobjectivesrdquomdashgoalsortasksmdashand

ldquotacticsrdquomdashtheactions taken toachievesaid goalsortasksmdashthroughthecluesofthe

language(Merlin73)Ofcourse thisisnotthe onlyinterpretiveoptionforplayingthe

Ganger15

scenebuttheworking‐throughofthecharactersrsquothoughtsisa clearexampleofa

Stanislavskianprocess

Usingthetexttosupportlives outsideoftheplayisessentialtothisthesisbecause

mycentralclaimarguesthatsomeofShakespearersquoscharactershaveexperienceda trauma

offstageawayfromthe audience Thereareno writtenwordsthatshowthetrauma

occurringonlycluesthatShakespearehasleft thatitoccurredbefore atsomeprevious

timeThesecluesalonesuggestthatShakespeareknewthathis charactershadlivesbefore

theplaybeganandtheimplicationsmadebythesecluesareas valuableofevidenceasthe

textof thecluesthemselves

Thefinalingredientto thetheoryconnectingproximity traumaandShakespearersquos

characters isthe proximity Theproximityofliving audiencetoliving actorsharinga

performancespaceinfluencesthe empathyof theaudiencetoward a particularcharacter

Shakespearersquosplaysfirstoccurredasperformancesandtheaudienceldquogroundlingsrdquofar

morevocallyandphysicallyinvolved in the action of the plays thanmodernaudiences

wouldever daretobe actively participatedin theirown theatricalexperienceTodaythe

roleoftheaudienceremainsarealcomponentinShakespearersquos playsRobConkiersquosldquoRed

ButtonShakespearerdquoaddressesand refutesclaimsthatperformanceisimpenetrableto

criticismbecauseofthevariablenatureoflive performance3Heusesamethodheterms

3 PersonallyI questionedwhetherIcould discussliveperformances for this paperEveryone who studies King Lear as a work ofliteratureworksfromthe samewords on apagethat documentproviding a foundation for scholarly conversation about the playIf someonewerereadinganarticleabout thetextof King Learall theyneedisto lookto thescriptforreferenceand they wouldbeon roughlythe samepageas thewriterLiveperformancehoweverisan entirelydifferent beastEachperformanceof King Lear willbe differentmdashdifferent actors giving a differentlook andvoice to the characters different directorsgiving different staging to the scenes different budgetsandvenuesproviding varying degreesof reality to technical elementsetcFurthermoreeach performanceexists onlyfor a momentfor theparticular audience present

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger7

CaruthinterpretsFreudrsquosldquorepetitivereenactmentsrdquoasldquoahuman voicethatcriesoutfrom

thewoundrdquo(3)Asthesubtitle ofherbooksuggestsCaruthemphasizespersonal

narrativemdasheachldquowoundrdquoisastory thatneeds tobetoldbythe person whoexperiencesit

Ofcoursethisalsoimpliesthat thesuffererneedsalistenerawitnessanaudiencetohear

hisorherstoryHertheoryasserts thathiddentraumaneedstobeexpressedinorderfor

thesufferertobeabletohealandnotreplaytheviciouscycleForShakespearersquos

characters performancesprovide aphysicalliteraloutletfor thistheorytoplayout

Charactersrsquo traumaticexperiences eitheroccuronstageor offstage eitherhiddenfromthe

audienceor sharedwiththeaudienceThose characters whosetraumasarehiddenfrom

theaudiencecryoutfromthewoundthroughtheiractionswithouteverbeingheard

whereas thosecharacterswhosetraumasare sharedwiththeaudienceescapethefate of

repeatingthemandusuallyfind someformofhealingorveneration

Theremay besomequestion asto whethermoderntraumatheorycaningood

consciencebeappliedtoclassicalcharacters Menachem Ben‐EzraprofessorattheSchool

ofSocialWorkatthe ArielUniversityCenterofSamariainhisreviewofliterarytrauma

identifies thevalidityofapplyingmoderntheory toancient texts findingsubstantial

evidence for psychologicaltrauma datingback toantiquityHe even pointstosleep

disordersinShakespeareas asymptomofPTSD(235)Thisisa directexamplefromoneof

theplaysunderanalysisin this papermdashLady MacbethrsquosfamoussleepwalkingsceneBen‐

Ezrarsquosarticlefocusesonclassicliteraturemoreasproofthat post‐traumaticstressisa

conditionthathasexistedsince antiquityand lessasastudy oftheliterarycharacters

themselves

Ganger8

ApplyingthesetheoriestoShakespearersquoscharactersrequiresa certainamount of

psychoanalysisoratleasttheadmission thatfictionalcharactershavesufficient

psychologicalcomplexitytoreadastraumasufferersScholars have beendividedonthe

answertothisquestionsince the early20th century

LCKnightsaShakespearescholarwriting in the1930s reactedstronglyagainst

whatheconsideredthe then‐populartrendof over‐emphasizingShakespearersquos

psychologicalrealismneglecting whatKnightsconsideredfarmoreimportantmdash

Shakespearersquospoetry HisfamousessayldquoHow ManyChildrenHadLadyMacbethrdquodirectly

arguesagainstthecriticismthatconcerns itselfwithShakespearersquoscharactersand

especiallyagainstthosethatworkunderthepremisethatShakespearersquoscharactersare

ldquorealpeoplerdquoHisassertion

TheonlyprofitableapproachtoShakespeare isaconsideration of hisplaysas

dramaticpoemsofhisuseoflanguagetoobtainatotalcomplexemotional

responseYetthebulkofShakespearecriticismisconcernedwithhischaractershis

heroineshisloveofNatureor hislsquophilosophyrsquomdashwitheverything inshortexcept

thewordson thepagewhichitisthemainbusinessof the critictoexamine(11)

Hisessaycriticizeshis contemporariesespeciallyEllenTerry anactressandscholarwho

inherlecturesldquoexercisesextensivelsquoanterior speculationrsquoby asking questionslike

lsquowhetherPortiaorBellariothoughtofthefamousquibblersquo orlsquohowdidtheBoyin HenryV

learntospeakFrenchrsquordquo(Knights3)ECPettetnicelydefinesthis termldquoanterior

speculationrdquoastheldquocriticalgameofconstructingaworld outsidethe givenmaterialofthe

playrdquo(192)Pettetwas writingthirtyyearsafterKnights and yethisbook Shakespeare and

Ganger9

the Romance Tradition holdsfirmlytoKnightsrsquosauthorityinhowtoapproacha

Shakespeareantext

KnightsmarksavitalriftinthefieldofShakespearestudiesHisinfluenceshould

notbeunderestimated LeonardF Deanrsquos1958articleldquoMacbeth andModernCriticismrdquo

describesKnightsrsquosarticleasa majormovementinShakespeareancriticismand Norman

Hollandrsquosbook Psychoanalysis and Shakespeare callsKnightsrsquosessaytheldquolocus classicusrdquoof

Shakespearestudies(296)Today criticslike Pascale Aebischerin Shakespearersquos Violated

Bodies Stage and Screen Performance continue touseKnightsrsquosframeworktodismiss

performersrsquotendencies totreat the characters asrealpeople AebischerobservesldquoAs

recentproductionsof King Lear showthetype ofreading that in academiawas discredited

byLCKnightsaslongagoas1933 seemstothrive intodayrsquos mainstreamtheatre that

generallyseemstobecenteredon lsquotruthfulrsquocharacterratherthanplotrdquo(176)Idonrsquot

understandwhythetwoaremutuallyexclusivebutitappearsthatthereis a riftinhowwe

thinkaboutShakespearemdashone thatif Aebischerrsquoscommentsareany indication arerife

withcondescension for theopposingopinion Knightsrsquosessayheavy withcondescension

itselfmay havebeen thedivisive workthatdrewasharp line betweenShakespeare‐as‐

LiteratureandShakespeare‐as‐Performancea linethat stillexiststodayHislegacyhaunts

performersandotherShakespeareanscholarswhoseoftenmorehumanized three‐

dimensionalinterpretationsofShakespearersquos characters aredismissedaschildish

imagination

ThoughKnightswould certainly balkatmyquestionsabouttraumaand

ShakespearersquoscharactersEllen Terryandthecriticsthatalso viewShakespearethrough

thelensof performancewouldlikelyagreethatShakespearersquoscharactersarevalid

Ganger10

candidates forpsychoanlysisSomeofthesecriticswritingthroughoutthelastcentury

includeJohnRusselBrownandArthurColbySpraguewhowerebothwritinginthe1960s

contemporariestoDean and PettetandarguedthatShakespeare cannotbeseparated from

performanceand insistedthathisrealhumancharacterswere themostimportantaspect

ofhisplaysontheElizabethanstage

Perhapsthemostwell‐knowncriticinthistraditionpolarizingashis extremeviews

maybeisHaroldBloomauthorof Shakespeare Invention of the HumanAshis title

suggestsBloomarguesthatShakespeare inventedcharacterpersonalityandWestern

identityasitisunderstoodtodayKnightsrsquosmainargumentis thatShakespeareshouldbe

studiedprimarilyasa poetThoughBloomadmitsShakespearersquos linguisticsuperiorityhe

holdsthatShakespearersquospoetry isnotwhathasmadehislastingimpactItrsquosthe people in

hisplaysmdashhischaractersmdashthathaveaffectedcivilizationandshaped Western culture

Bloomjustifieshispriorityof characterbyexplainingthatldquo[Shakespearersquos]few peersmdash

HomertheYahwistDanteChaucerCervantesTolstoyperhaps Dickensmdashremind usthat

therepresentationofhumancharacterandpersonalityremainsalwaysthesupreme

literaryvaluewhetherin dramalyricornarrativerdquo(3‐4) Inotherwordstheelementthat

makesaworkofliteratureendure throughthecenturiesthatmakesanimpacton history

isprimarilytheportrayalofhumanityandcharacterHow could Bloomdisapproveof

applyingtraumatheorytoShakespearersquoscharacterswhenheviewsthemassuchcomplete

andrealpeople

Unfortunatelythedividebetweenliteratureandperformancepersists even with

BloomInhisstudyofShakespearersquosplaysheforgetsorignoresthatthemediumof

performanceisas importantaway ofexperiencingandstudying Shakespeareas isreading

Ganger11

fromthepageOf King LearBloomsaysldquoIemphasizereadingmore thaneverbecauseI

haveattendedmanystagingsof King Lear andinvariably haveregrettedbeingthereOur

directorsandactorsaredefeated bythisplayandIbeginsadlytoagreehellipthatweoughtto

keeprereading King Lear andavoiditsstaged travestiesrdquo (476)This argument is patently

illogicalSimplybecauseonehas neverseen a performancethat meetshisorher

expectations doesnotjustifydivorcingthehistoricalreality thatShakespearersquosworkswere

originallyperformed King Learorevenfarmoredifficultplaystostageintodayrsquos world

likethe Henry VI trilogyshouldstillbeapproachedwiththemindset thatperformancewas

necessarytotheplayrsquosoriginand istherefore necessaryto itsinterpretation

Thisisnottosaythatactorsanddirectorsarenotoftenguiltyofleaningtoofartothe

oppositesideofthespectrumEspeciallyin todayrsquostheatrical climatewhereldquotraditionalrdquois

adirtyworddirectorsrsquointerpretationsand actorsrsquochoicesbasedtoomuchontheirldquogutrdquo

oftenresultinproductionsthat lackthefocusanddepththat Shakespearersquoswordsdeserve

IdeallyactorswouldrespectShakespearersquosplaysasliterature andscholarswouldrespect

themasperformance

Demonstratingthisbalancebyincludingperformative perspectivein Shakespearean

analysisiscontemporaryscholar CarolChillingtonRutterwho inherbook Enter the Body

Women and Representation on Shakespearersquos Stagediscussestheactorasreallivingbody

andespeciallyfocusesonplaysorscenes inwhichable‐bodied actors portraydisabledor

deadcharactersldquoArealbodyfakestherole ofboguscorpserdquo(2)Thisanalysis hasbroader

implications forShakespearestudiesClearlyitisimportant tolookatShakespearersquos

Ganger12

characters asldquorealrdquo2 becauseofShakespearersquos understandingofhumannatureor

complexityinhisportrayal(bothof whicharecertainly part ofthereasonShakespearersquos

characters shouldbeconsidered realpeople)butbecausetheyare livingbodies Real

peopleembodythecharactersand therefore insomesensethey are real inaphysical

literalway AsEllenTerrystatesldquo[Anactressrsquos]taskis to learnhowto translate this

character intoherself howtomakeits thoughtsherthoughts itswordsherwordsrdquo(80)

LivingphysicalactormustabsorbShakespearersquoslanguagetopresent theliving physical

character

Ifoneconsiderstheseconcepts only hypotheticallywithouttraininginperformance

ldquotranslating[a]characterintordquo oneselfmaysoundhighlysubjectiveandemotionalin

naturewith littlemethodorreasoningrequiredThis assumptionmayaccountforsomeof

theanimositybetween performers ofShakespeareandscholarsof Shakespeare

Pragmaticallyanysolidactortrainingincludestraininginhowtomethodicallygrounda

performanceinthetextoftheworkbeingperformedThis trainingat leastinWestern

theatrewhereShakespeare isstillheldasthecornerstoneof thedramaticcanonwill

inevitablybebasedintheworks oftheseminaldirectorandactortrainerKonstantin

StanislavskiAcclaimed actor(and grandsonofEllenTerry)JohnGielguddeclares

Stanislavskitheldquoauthorityrdquoinacting method(ix)Indeed it wouldnotbetooextremeto

claimthatStanislavski istoactortrainingwhatShakespeareis to the genre of drama

Althoughheworked intheearly 1900sStanislavskirsquosmethodsareappropriatefor actors

2 Iwishthattherewasa clearer termfor whatIwant tocommunicatewhenIdiscussShakespearersquos characters as ldquorealpeoplerdquo Ofcourse Shakespearersquoscharacters are fictionalThey are certainlyeffective representationsof real people andrealreaders and audience membersthroughouthistory have identifiedthemselvesinthemTheimportantpoint of this ldquorealnessrdquoisthat theyalsohavefullthoughfictionallivesbeyondthewords on the pagejust as if one day of my life wererecordedIwould still haveafull lifebefore and after that one day

Ganger13

ofanygenreorperiodandGielgudevenspecifically insiststhatthey aresuitedto

Shakespeare(xiii)

Stanislavskirsquosmethodbywhichalmostevery otherldquomethodrdquohas sprungisbasedona

thoroughstudyandpreparationof thegiventextStanislavski callsthefirststepofa

rehearsalprocessldquoMiningthe Textrdquowhichisldquothekindof analysis[anactor]mightapplyto

ascripteithercollectivelywiththe directoror independentlyaspartof[hisorher]own

detectiveworkrdquoAlthoughmining thetextisldquoessentiallyhead‐ledworkhellipitsreverberations

areprofoundlypsycho‐physicalrdquo(Merlin55)This mining the text isessentiallyclose‐

readingrequiringanactortodiscoverevery possibleclueaplaywrighthasleftforhimor

heraboutacharacter fromwhichtothendevelopandembodyThetermldquogiven

circumstancesrdquoapplies totheeventsoftheplayorthespecificwordsonthepageInorder

totruthfullydevelopa characterStanislavski instructsthat itisldquonecessarytofindoutwhat

underlies[thegivencircumstancesofaplay]gaveriseto themishiddenbehindthemrdquo

(18)TheideaofanteriorspeculationasKnightswouldsayasaconceptremovedfromthe

scriptmdashmerelythefancifulimaginingsofawishfulactormdashcontradictstheveryfoundation

ofanyactortrainingAnylife that anactor imaginesforhis orhercharacterthathas

occurredoffstageofwhichthere arenowrittenwordsmustnecessarilybederivedand

supportedfullybythetext

Iwillprovideabriefexampleof thethoughtprocessanactor mightgothroughin

mining the textwhichcomesfromHarveyRovinersquosbook Silence in Shakespeare Drama

Power and GenderItislargelyalinguistic analysisasthebookfocusesonhow

Shakespeareusesmetertodirecthisactors(anotherconceptany trainedShakespearean

actorwouldbefamiliarwith)Shakespearersquosmeterisone ofthemany aspectsofthescript

Ganger14

thatmightprovidesignificantinformationabouttheactionsonstageldquoShortlinesrdquoor

incomplete linesof iambicpentametercanbeapproachedbyreaders andperformersas

ldquosharingrdquotheverseor by pausing

Thepassage Rovineanalyzesis from Act1Scene7ofMacbeth

LADYMACBETHhellipAnddashrsquodthebrainsouthadIsosworn

Asyouhavedonetothis

MACBETH Ifweshouldfail

LADY MACBETH We fail

Butscrewyourcouragetothestickingplacehellip

Rovinersquosanalysiscontinues

AsIinterpretthesceneMacbethrsquosquestionlsquoIf weshouldfailrsquocompletesLady

MacbethrsquosshortlinelsquoAsyouhavedonetothisrsquoImmediatelyprecedingthisexchange

Macbethhasexpressed hismisgivingsaboutthemurderbothin soliloquyandinthe

dialoguewithhiswifeandheisdeterminedlsquoto proceednofurtherin thisbusinessrsquo

WhenLadyMacbethdescribesher resolveintermsofherwillingness todashoutthe

brainsofhernursinginfantMacbethtriestoundercuther determinationbybringing

upthepossibilityoffailureAfterLadyMacbethrsquosshortline thereseemstobean

emotionally chargedsilenceastillnesswhich hangsin theair asLady Macbethdecides

onanothermoreeffectivewaytopersuadeMacbethtocarryout themurder(15)

Thisanalysisusescluesfromthetexttoimaginealivingpersondelivering theselinesThe

reading isessentiallyStanislavskianHeidentifiesldquoobjectivesrdquomdashgoalsortasksmdashand

ldquotacticsrdquomdashtheactions taken toachievesaid goalsortasksmdashthroughthecluesofthe

language(Merlin73)Ofcourse thisisnotthe onlyinterpretiveoptionforplayingthe

Ganger15

scenebuttheworking‐throughofthecharactersrsquothoughtsisa clearexampleofa

Stanislavskianprocess

Usingthetexttosupportlives outsideoftheplayisessentialtothisthesisbecause

mycentralclaimarguesthatsomeofShakespearersquoscharactershaveexperienceda trauma

offstageawayfromthe audience Thereareno writtenwordsthatshowthetrauma

occurringonlycluesthatShakespearehasleft thatitoccurredbefore atsomeprevious

timeThesecluesalonesuggestthatShakespeareknewthathis charactershadlivesbefore

theplaybeganandtheimplicationsmadebythesecluesareas valuableofevidenceasthe

textof thecluesthemselves

Thefinalingredientto thetheoryconnectingproximity traumaandShakespearersquos

characters isthe proximity Theproximityofliving audiencetoliving actorsharinga

performancespaceinfluencesthe empathyof theaudiencetoward a particularcharacter

Shakespearersquosplaysfirstoccurredasperformancesandtheaudienceldquogroundlingsrdquofar

morevocallyandphysicallyinvolved in the action of the plays thanmodernaudiences

wouldever daretobe actively participatedin theirown theatricalexperienceTodaythe

roleoftheaudienceremainsarealcomponentinShakespearersquos playsRobConkiersquosldquoRed

ButtonShakespearerdquoaddressesand refutesclaimsthatperformanceisimpenetrableto

criticismbecauseofthevariablenatureoflive performance3Heusesamethodheterms

3 PersonallyI questionedwhetherIcould discussliveperformances for this paperEveryone who studies King Lear as a work ofliteratureworksfromthe samewords on apagethat documentproviding a foundation for scholarly conversation about the playIf someonewerereadinganarticleabout thetextof King Learall theyneedisto lookto thescriptforreferenceand they wouldbeon roughlythe samepageas thewriterLiveperformancehoweverisan entirelydifferent beastEachperformanceof King Lear willbe differentmdashdifferent actors giving a differentlook andvoice to the characters different directorsgiving different staging to the scenes different budgetsandvenuesproviding varying degreesof reality to technical elementsetcFurthermoreeach performanceexists onlyfor a momentfor theparticular audience present

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger8

ApplyingthesetheoriestoShakespearersquoscharactersrequiresa certainamount of

psychoanalysisoratleasttheadmission thatfictionalcharactershavesufficient

psychologicalcomplexitytoreadastraumasufferersScholars have beendividedonthe

answertothisquestionsince the early20th century

LCKnightsaShakespearescholarwriting in the1930s reactedstronglyagainst

whatheconsideredthe then‐populartrendof over‐emphasizingShakespearersquos

psychologicalrealismneglecting whatKnightsconsideredfarmoreimportantmdash

Shakespearersquospoetry HisfamousessayldquoHow ManyChildrenHadLadyMacbethrdquodirectly

arguesagainstthecriticismthatconcerns itselfwithShakespearersquoscharactersand

especiallyagainstthosethatworkunderthepremisethatShakespearersquoscharactersare

ldquorealpeoplerdquoHisassertion

TheonlyprofitableapproachtoShakespeare isaconsideration of hisplaysas

dramaticpoemsofhisuseoflanguagetoobtainatotalcomplexemotional

responseYetthebulkofShakespearecriticismisconcernedwithhischaractershis

heroineshisloveofNatureor hislsquophilosophyrsquomdashwitheverything inshortexcept

thewordson thepagewhichitisthemainbusinessof the critictoexamine(11)

Hisessaycriticizeshis contemporariesespeciallyEllenTerry anactressandscholarwho

inherlecturesldquoexercisesextensivelsquoanterior speculationrsquoby asking questionslike

lsquowhetherPortiaorBellariothoughtofthefamousquibblersquo orlsquohowdidtheBoyin HenryV

learntospeakFrenchrsquordquo(Knights3)ECPettetnicelydefinesthis termldquoanterior

speculationrdquoastheldquocriticalgameofconstructingaworld outsidethe givenmaterialofthe

playrdquo(192)Pettetwas writingthirtyyearsafterKnights and yethisbook Shakespeare and

Ganger9

the Romance Tradition holdsfirmlytoKnightsrsquosauthorityinhowtoapproacha

Shakespeareantext

KnightsmarksavitalriftinthefieldofShakespearestudiesHisinfluenceshould

notbeunderestimated LeonardF Deanrsquos1958articleldquoMacbeth andModernCriticismrdquo

describesKnightsrsquosarticleasa majormovementinShakespeareancriticismand Norman

Hollandrsquosbook Psychoanalysis and Shakespeare callsKnightsrsquosessaytheldquolocus classicusrdquoof

Shakespearestudies(296)Today criticslike Pascale Aebischerin Shakespearersquos Violated

Bodies Stage and Screen Performance continue touseKnightsrsquosframeworktodismiss

performersrsquotendencies totreat the characters asrealpeople AebischerobservesldquoAs

recentproductionsof King Lear showthetype ofreading that in academiawas discredited

byLCKnightsaslongagoas1933 seemstothrive intodayrsquos mainstreamtheatre that

generallyseemstobecenteredon lsquotruthfulrsquocharacterratherthanplotrdquo(176)Idonrsquot

understandwhythetwoaremutuallyexclusivebutitappearsthatthereis a riftinhowwe

thinkaboutShakespearemdashone thatif Aebischerrsquoscommentsareany indication arerife

withcondescension for theopposingopinion Knightsrsquosessayheavy withcondescension

itselfmay havebeen thedivisive workthatdrewasharp line betweenShakespeare‐as‐

LiteratureandShakespeare‐as‐Performancea linethat stillexiststodayHislegacyhaunts

performersandotherShakespeareanscholarswhoseoftenmorehumanized three‐

dimensionalinterpretationsofShakespearersquos characters aredismissedaschildish

imagination

ThoughKnightswould certainly balkatmyquestionsabouttraumaand

ShakespearersquoscharactersEllen Terryandthecriticsthatalso viewShakespearethrough

thelensof performancewouldlikelyagreethatShakespearersquoscharactersarevalid

Ganger10

candidates forpsychoanlysisSomeofthesecriticswritingthroughoutthelastcentury

includeJohnRusselBrownandArthurColbySpraguewhowerebothwritinginthe1960s

contemporariestoDean and PettetandarguedthatShakespeare cannotbeseparated from

performanceand insistedthathisrealhumancharacterswere themostimportantaspect

ofhisplaysontheElizabethanstage

Perhapsthemostwell‐knowncriticinthistraditionpolarizingashis extremeviews

maybeisHaroldBloomauthorof Shakespeare Invention of the HumanAshis title

suggestsBloomarguesthatShakespeare inventedcharacterpersonalityandWestern

identityasitisunderstoodtodayKnightsrsquosmainargumentis thatShakespeareshouldbe

studiedprimarilyasa poetThoughBloomadmitsShakespearersquos linguisticsuperiorityhe

holdsthatShakespearersquospoetry isnotwhathasmadehislastingimpactItrsquosthe people in

hisplaysmdashhischaractersmdashthathaveaffectedcivilizationandshaped Western culture

Bloomjustifieshispriorityof characterbyexplainingthatldquo[Shakespearersquos]few peersmdash

HomertheYahwistDanteChaucerCervantesTolstoyperhaps Dickensmdashremind usthat

therepresentationofhumancharacterandpersonalityremainsalwaysthesupreme

literaryvaluewhetherin dramalyricornarrativerdquo(3‐4) Inotherwordstheelementthat

makesaworkofliteratureendure throughthecenturiesthatmakesanimpacton history

isprimarilytheportrayalofhumanityandcharacterHow could Bloomdisapproveof

applyingtraumatheorytoShakespearersquoscharacterswhenheviewsthemassuchcomplete

andrealpeople

Unfortunatelythedividebetweenliteratureandperformancepersists even with

BloomInhisstudyofShakespearersquosplaysheforgetsorignoresthatthemediumof

performanceisas importantaway ofexperiencingandstudying Shakespeareas isreading

Ganger11

fromthepageOf King LearBloomsaysldquoIemphasizereadingmore thaneverbecauseI

haveattendedmanystagingsof King Lear andinvariably haveregrettedbeingthereOur

directorsandactorsaredefeated bythisplayandIbeginsadlytoagreehellipthatweoughtto

keeprereading King Lear andavoiditsstaged travestiesrdquo (476)This argument is patently

illogicalSimplybecauseonehas neverseen a performancethat meetshisorher

expectations doesnotjustifydivorcingthehistoricalreality thatShakespearersquosworkswere

originallyperformed King Learorevenfarmoredifficultplaystostageintodayrsquos world

likethe Henry VI trilogyshouldstillbeapproachedwiththemindset thatperformancewas

necessarytotheplayrsquosoriginand istherefore necessaryto itsinterpretation

Thisisnottosaythatactorsanddirectorsarenotoftenguiltyofleaningtoofartothe

oppositesideofthespectrumEspeciallyin todayrsquostheatrical climatewhereldquotraditionalrdquois

adirtyworddirectorsrsquointerpretationsand actorsrsquochoicesbasedtoomuchontheirldquogutrdquo

oftenresultinproductionsthat lackthefocusanddepththat Shakespearersquoswordsdeserve

IdeallyactorswouldrespectShakespearersquosplaysasliterature andscholarswouldrespect

themasperformance

Demonstratingthisbalancebyincludingperformative perspectivein Shakespearean

analysisiscontemporaryscholar CarolChillingtonRutterwho inherbook Enter the Body

Women and Representation on Shakespearersquos Stagediscussestheactorasreallivingbody

andespeciallyfocusesonplaysorscenes inwhichable‐bodied actors portraydisabledor

deadcharactersldquoArealbodyfakestherole ofboguscorpserdquo(2)Thisanalysis hasbroader

implications forShakespearestudiesClearlyitisimportant tolookatShakespearersquos

Ganger12

characters asldquorealrdquo2 becauseofShakespearersquos understandingofhumannatureor

complexityinhisportrayal(bothof whicharecertainly part ofthereasonShakespearersquos

characters shouldbeconsidered realpeople)butbecausetheyare livingbodies Real

peopleembodythecharactersand therefore insomesensethey are real inaphysical

literalway AsEllenTerrystatesldquo[Anactressrsquos]taskis to learnhowto translate this

character intoherself howtomakeits thoughtsherthoughts itswordsherwordsrdquo(80)

LivingphysicalactormustabsorbShakespearersquoslanguagetopresent theliving physical

character

Ifoneconsiderstheseconcepts only hypotheticallywithouttraininginperformance

ldquotranslating[a]characterintordquo oneselfmaysoundhighlysubjectiveandemotionalin

naturewith littlemethodorreasoningrequiredThis assumptionmayaccountforsomeof

theanimositybetween performers ofShakespeareandscholarsof Shakespeare

Pragmaticallyanysolidactortrainingincludestraininginhowtomethodicallygrounda

performanceinthetextoftheworkbeingperformedThis trainingat leastinWestern

theatrewhereShakespeare isstillheldasthecornerstoneof thedramaticcanonwill

inevitablybebasedintheworks oftheseminaldirectorandactortrainerKonstantin

StanislavskiAcclaimed actor(and grandsonofEllenTerry)JohnGielguddeclares

Stanislavskitheldquoauthorityrdquoinacting method(ix)Indeed it wouldnotbetooextremeto

claimthatStanislavski istoactortrainingwhatShakespeareis to the genre of drama

Althoughheworked intheearly 1900sStanislavskirsquosmethodsareappropriatefor actors

2 Iwishthattherewasa clearer termfor whatIwant tocommunicatewhenIdiscussShakespearersquos characters as ldquorealpeoplerdquo Ofcourse Shakespearersquoscharacters are fictionalThey are certainlyeffective representationsof real people andrealreaders and audience membersthroughouthistory have identifiedthemselvesinthemTheimportantpoint of this ldquorealnessrdquoisthat theyalsohavefullthoughfictionallivesbeyondthewords on the pagejust as if one day of my life wererecordedIwould still haveafull lifebefore and after that one day

Ganger13

ofanygenreorperiodandGielgudevenspecifically insiststhatthey aresuitedto

Shakespeare(xiii)

Stanislavskirsquosmethodbywhichalmostevery otherldquomethodrdquohas sprungisbasedona

thoroughstudyandpreparationof thegiventextStanislavski callsthefirststepofa

rehearsalprocessldquoMiningthe Textrdquowhichisldquothekindof analysis[anactor]mightapplyto

ascripteithercollectivelywiththe directoror independentlyaspartof[hisorher]own

detectiveworkrdquoAlthoughmining thetextisldquoessentiallyhead‐ledworkhellipitsreverberations

areprofoundlypsycho‐physicalrdquo(Merlin55)This mining the text isessentiallyclose‐

readingrequiringanactortodiscoverevery possibleclueaplaywrighthasleftforhimor

heraboutacharacter fromwhichtothendevelopandembodyThetermldquogiven

circumstancesrdquoapplies totheeventsoftheplayorthespecificwordsonthepageInorder

totruthfullydevelopa characterStanislavski instructsthat itisldquonecessarytofindoutwhat

underlies[thegivencircumstancesofaplay]gaveriseto themishiddenbehindthemrdquo

(18)TheideaofanteriorspeculationasKnightswouldsayasaconceptremovedfromthe

scriptmdashmerelythefancifulimaginingsofawishfulactormdashcontradictstheveryfoundation

ofanyactortrainingAnylife that anactor imaginesforhis orhercharacterthathas

occurredoffstageofwhichthere arenowrittenwordsmustnecessarilybederivedand

supportedfullybythetext

Iwillprovideabriefexampleof thethoughtprocessanactor mightgothroughin

mining the textwhichcomesfromHarveyRovinersquosbook Silence in Shakespeare Drama

Power and GenderItislargelyalinguistic analysisasthebookfocusesonhow

Shakespeareusesmetertodirecthisactors(anotherconceptany trainedShakespearean

actorwouldbefamiliarwith)Shakespearersquosmeterisone ofthemany aspectsofthescript

Ganger14

thatmightprovidesignificantinformationabouttheactionsonstageldquoShortlinesrdquoor

incomplete linesof iambicpentametercanbeapproachedbyreaders andperformersas

ldquosharingrdquotheverseor by pausing

Thepassage Rovineanalyzesis from Act1Scene7ofMacbeth

LADYMACBETHhellipAnddashrsquodthebrainsouthadIsosworn

Asyouhavedonetothis

MACBETH Ifweshouldfail

LADY MACBETH We fail

Butscrewyourcouragetothestickingplacehellip

Rovinersquosanalysiscontinues

AsIinterpretthesceneMacbethrsquosquestionlsquoIf weshouldfailrsquocompletesLady

MacbethrsquosshortlinelsquoAsyouhavedonetothisrsquoImmediatelyprecedingthisexchange

Macbethhasexpressed hismisgivingsaboutthemurderbothin soliloquyandinthe

dialoguewithhiswifeandheisdeterminedlsquoto proceednofurtherin thisbusinessrsquo

WhenLadyMacbethdescribesher resolveintermsofherwillingness todashoutthe

brainsofhernursinginfantMacbethtriestoundercuther determinationbybringing

upthepossibilityoffailureAfterLadyMacbethrsquosshortline thereseemstobean

emotionally chargedsilenceastillnesswhich hangsin theair asLady Macbethdecides

onanothermoreeffectivewaytopersuadeMacbethtocarryout themurder(15)

Thisanalysisusescluesfromthetexttoimaginealivingpersondelivering theselinesThe

reading isessentiallyStanislavskianHeidentifiesldquoobjectivesrdquomdashgoalsortasksmdashand

ldquotacticsrdquomdashtheactions taken toachievesaid goalsortasksmdashthroughthecluesofthe

language(Merlin73)Ofcourse thisisnotthe onlyinterpretiveoptionforplayingthe

Ganger15

scenebuttheworking‐throughofthecharactersrsquothoughtsisa clearexampleofa

Stanislavskianprocess

Usingthetexttosupportlives outsideoftheplayisessentialtothisthesisbecause

mycentralclaimarguesthatsomeofShakespearersquoscharactershaveexperienceda trauma

offstageawayfromthe audience Thereareno writtenwordsthatshowthetrauma

occurringonlycluesthatShakespearehasleft thatitoccurredbefore atsomeprevious

timeThesecluesalonesuggestthatShakespeareknewthathis charactershadlivesbefore

theplaybeganandtheimplicationsmadebythesecluesareas valuableofevidenceasthe

textof thecluesthemselves

Thefinalingredientto thetheoryconnectingproximity traumaandShakespearersquos

characters isthe proximity Theproximityofliving audiencetoliving actorsharinga

performancespaceinfluencesthe empathyof theaudiencetoward a particularcharacter

Shakespearersquosplaysfirstoccurredasperformancesandtheaudienceldquogroundlingsrdquofar

morevocallyandphysicallyinvolved in the action of the plays thanmodernaudiences

wouldever daretobe actively participatedin theirown theatricalexperienceTodaythe

roleoftheaudienceremainsarealcomponentinShakespearersquos playsRobConkiersquosldquoRed

ButtonShakespearerdquoaddressesand refutesclaimsthatperformanceisimpenetrableto

criticismbecauseofthevariablenatureoflive performance3Heusesamethodheterms

3 PersonallyI questionedwhetherIcould discussliveperformances for this paperEveryone who studies King Lear as a work ofliteratureworksfromthe samewords on apagethat documentproviding a foundation for scholarly conversation about the playIf someonewerereadinganarticleabout thetextof King Learall theyneedisto lookto thescriptforreferenceand they wouldbeon roughlythe samepageas thewriterLiveperformancehoweverisan entirelydifferent beastEachperformanceof King Lear willbe differentmdashdifferent actors giving a differentlook andvoice to the characters different directorsgiving different staging to the scenes different budgetsandvenuesproviding varying degreesof reality to technical elementsetcFurthermoreeach performanceexists onlyfor a momentfor theparticular audience present

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger9

the Romance Tradition holdsfirmlytoKnightsrsquosauthorityinhowtoapproacha

Shakespeareantext

KnightsmarksavitalriftinthefieldofShakespearestudiesHisinfluenceshould

notbeunderestimated LeonardF Deanrsquos1958articleldquoMacbeth andModernCriticismrdquo

describesKnightsrsquosarticleasa majormovementinShakespeareancriticismand Norman

Hollandrsquosbook Psychoanalysis and Shakespeare callsKnightsrsquosessaytheldquolocus classicusrdquoof

Shakespearestudies(296)Today criticslike Pascale Aebischerin Shakespearersquos Violated

Bodies Stage and Screen Performance continue touseKnightsrsquosframeworktodismiss

performersrsquotendencies totreat the characters asrealpeople AebischerobservesldquoAs

recentproductionsof King Lear showthetype ofreading that in academiawas discredited

byLCKnightsaslongagoas1933 seemstothrive intodayrsquos mainstreamtheatre that

generallyseemstobecenteredon lsquotruthfulrsquocharacterratherthanplotrdquo(176)Idonrsquot

understandwhythetwoaremutuallyexclusivebutitappearsthatthereis a riftinhowwe

thinkaboutShakespearemdashone thatif Aebischerrsquoscommentsareany indication arerife

withcondescension for theopposingopinion Knightsrsquosessayheavy withcondescension

itselfmay havebeen thedivisive workthatdrewasharp line betweenShakespeare‐as‐

LiteratureandShakespeare‐as‐Performancea linethat stillexiststodayHislegacyhaunts

performersandotherShakespeareanscholarswhoseoftenmorehumanized three‐

dimensionalinterpretationsofShakespearersquos characters aredismissedaschildish

imagination

ThoughKnightswould certainly balkatmyquestionsabouttraumaand

ShakespearersquoscharactersEllen Terryandthecriticsthatalso viewShakespearethrough

thelensof performancewouldlikelyagreethatShakespearersquoscharactersarevalid

Ganger10

candidates forpsychoanlysisSomeofthesecriticswritingthroughoutthelastcentury

includeJohnRusselBrownandArthurColbySpraguewhowerebothwritinginthe1960s

contemporariestoDean and PettetandarguedthatShakespeare cannotbeseparated from

performanceand insistedthathisrealhumancharacterswere themostimportantaspect

ofhisplaysontheElizabethanstage

Perhapsthemostwell‐knowncriticinthistraditionpolarizingashis extremeviews

maybeisHaroldBloomauthorof Shakespeare Invention of the HumanAshis title

suggestsBloomarguesthatShakespeare inventedcharacterpersonalityandWestern

identityasitisunderstoodtodayKnightsrsquosmainargumentis thatShakespeareshouldbe

studiedprimarilyasa poetThoughBloomadmitsShakespearersquos linguisticsuperiorityhe

holdsthatShakespearersquospoetry isnotwhathasmadehislastingimpactItrsquosthe people in

hisplaysmdashhischaractersmdashthathaveaffectedcivilizationandshaped Western culture

Bloomjustifieshispriorityof characterbyexplainingthatldquo[Shakespearersquos]few peersmdash

HomertheYahwistDanteChaucerCervantesTolstoyperhaps Dickensmdashremind usthat

therepresentationofhumancharacterandpersonalityremainsalwaysthesupreme

literaryvaluewhetherin dramalyricornarrativerdquo(3‐4) Inotherwordstheelementthat

makesaworkofliteratureendure throughthecenturiesthatmakesanimpacton history

isprimarilytheportrayalofhumanityandcharacterHow could Bloomdisapproveof

applyingtraumatheorytoShakespearersquoscharacterswhenheviewsthemassuchcomplete

andrealpeople

Unfortunatelythedividebetweenliteratureandperformancepersists even with

BloomInhisstudyofShakespearersquosplaysheforgetsorignoresthatthemediumof

performanceisas importantaway ofexperiencingandstudying Shakespeareas isreading

Ganger11

fromthepageOf King LearBloomsaysldquoIemphasizereadingmore thaneverbecauseI

haveattendedmanystagingsof King Lear andinvariably haveregrettedbeingthereOur

directorsandactorsaredefeated bythisplayandIbeginsadlytoagreehellipthatweoughtto

keeprereading King Lear andavoiditsstaged travestiesrdquo (476)This argument is patently

illogicalSimplybecauseonehas neverseen a performancethat meetshisorher

expectations doesnotjustifydivorcingthehistoricalreality thatShakespearersquosworkswere

originallyperformed King Learorevenfarmoredifficultplaystostageintodayrsquos world

likethe Henry VI trilogyshouldstillbeapproachedwiththemindset thatperformancewas

necessarytotheplayrsquosoriginand istherefore necessaryto itsinterpretation

Thisisnottosaythatactorsanddirectorsarenotoftenguiltyofleaningtoofartothe

oppositesideofthespectrumEspeciallyin todayrsquostheatrical climatewhereldquotraditionalrdquois

adirtyworddirectorsrsquointerpretationsand actorsrsquochoicesbasedtoomuchontheirldquogutrdquo

oftenresultinproductionsthat lackthefocusanddepththat Shakespearersquoswordsdeserve

IdeallyactorswouldrespectShakespearersquosplaysasliterature andscholarswouldrespect

themasperformance

Demonstratingthisbalancebyincludingperformative perspectivein Shakespearean

analysisiscontemporaryscholar CarolChillingtonRutterwho inherbook Enter the Body

Women and Representation on Shakespearersquos Stagediscussestheactorasreallivingbody

andespeciallyfocusesonplaysorscenes inwhichable‐bodied actors portraydisabledor

deadcharactersldquoArealbodyfakestherole ofboguscorpserdquo(2)Thisanalysis hasbroader

implications forShakespearestudiesClearlyitisimportant tolookatShakespearersquos

Ganger12

characters asldquorealrdquo2 becauseofShakespearersquos understandingofhumannatureor

complexityinhisportrayal(bothof whicharecertainly part ofthereasonShakespearersquos

characters shouldbeconsidered realpeople)butbecausetheyare livingbodies Real

peopleembodythecharactersand therefore insomesensethey are real inaphysical

literalway AsEllenTerrystatesldquo[Anactressrsquos]taskis to learnhowto translate this

character intoherself howtomakeits thoughtsherthoughts itswordsherwordsrdquo(80)

LivingphysicalactormustabsorbShakespearersquoslanguagetopresent theliving physical

character

Ifoneconsiderstheseconcepts only hypotheticallywithouttraininginperformance

ldquotranslating[a]characterintordquo oneselfmaysoundhighlysubjectiveandemotionalin

naturewith littlemethodorreasoningrequiredThis assumptionmayaccountforsomeof

theanimositybetween performers ofShakespeareandscholarsof Shakespeare

Pragmaticallyanysolidactortrainingincludestraininginhowtomethodicallygrounda

performanceinthetextoftheworkbeingperformedThis trainingat leastinWestern

theatrewhereShakespeare isstillheldasthecornerstoneof thedramaticcanonwill

inevitablybebasedintheworks oftheseminaldirectorandactortrainerKonstantin

StanislavskiAcclaimed actor(and grandsonofEllenTerry)JohnGielguddeclares

Stanislavskitheldquoauthorityrdquoinacting method(ix)Indeed it wouldnotbetooextremeto

claimthatStanislavski istoactortrainingwhatShakespeareis to the genre of drama

Althoughheworked intheearly 1900sStanislavskirsquosmethodsareappropriatefor actors

2 Iwishthattherewasa clearer termfor whatIwant tocommunicatewhenIdiscussShakespearersquos characters as ldquorealpeoplerdquo Ofcourse Shakespearersquoscharacters are fictionalThey are certainlyeffective representationsof real people andrealreaders and audience membersthroughouthistory have identifiedthemselvesinthemTheimportantpoint of this ldquorealnessrdquoisthat theyalsohavefullthoughfictionallivesbeyondthewords on the pagejust as if one day of my life wererecordedIwould still haveafull lifebefore and after that one day

Ganger13

ofanygenreorperiodandGielgudevenspecifically insiststhatthey aresuitedto

Shakespeare(xiii)

Stanislavskirsquosmethodbywhichalmostevery otherldquomethodrdquohas sprungisbasedona

thoroughstudyandpreparationof thegiventextStanislavski callsthefirststepofa

rehearsalprocessldquoMiningthe Textrdquowhichisldquothekindof analysis[anactor]mightapplyto

ascripteithercollectivelywiththe directoror independentlyaspartof[hisorher]own

detectiveworkrdquoAlthoughmining thetextisldquoessentiallyhead‐ledworkhellipitsreverberations

areprofoundlypsycho‐physicalrdquo(Merlin55)This mining the text isessentiallyclose‐

readingrequiringanactortodiscoverevery possibleclueaplaywrighthasleftforhimor

heraboutacharacter fromwhichtothendevelopandembodyThetermldquogiven

circumstancesrdquoapplies totheeventsoftheplayorthespecificwordsonthepageInorder

totruthfullydevelopa characterStanislavski instructsthat itisldquonecessarytofindoutwhat

underlies[thegivencircumstancesofaplay]gaveriseto themishiddenbehindthemrdquo

(18)TheideaofanteriorspeculationasKnightswouldsayasaconceptremovedfromthe

scriptmdashmerelythefancifulimaginingsofawishfulactormdashcontradictstheveryfoundation

ofanyactortrainingAnylife that anactor imaginesforhis orhercharacterthathas

occurredoffstageofwhichthere arenowrittenwordsmustnecessarilybederivedand

supportedfullybythetext

Iwillprovideabriefexampleof thethoughtprocessanactor mightgothroughin

mining the textwhichcomesfromHarveyRovinersquosbook Silence in Shakespeare Drama

Power and GenderItislargelyalinguistic analysisasthebookfocusesonhow

Shakespeareusesmetertodirecthisactors(anotherconceptany trainedShakespearean

actorwouldbefamiliarwith)Shakespearersquosmeterisone ofthemany aspectsofthescript

Ganger14

thatmightprovidesignificantinformationabouttheactionsonstageldquoShortlinesrdquoor

incomplete linesof iambicpentametercanbeapproachedbyreaders andperformersas

ldquosharingrdquotheverseor by pausing

Thepassage Rovineanalyzesis from Act1Scene7ofMacbeth

LADYMACBETHhellipAnddashrsquodthebrainsouthadIsosworn

Asyouhavedonetothis

MACBETH Ifweshouldfail

LADY MACBETH We fail

Butscrewyourcouragetothestickingplacehellip

Rovinersquosanalysiscontinues

AsIinterpretthesceneMacbethrsquosquestionlsquoIf weshouldfailrsquocompletesLady

MacbethrsquosshortlinelsquoAsyouhavedonetothisrsquoImmediatelyprecedingthisexchange

Macbethhasexpressed hismisgivingsaboutthemurderbothin soliloquyandinthe

dialoguewithhiswifeandheisdeterminedlsquoto proceednofurtherin thisbusinessrsquo

WhenLadyMacbethdescribesher resolveintermsofherwillingness todashoutthe

brainsofhernursinginfantMacbethtriestoundercuther determinationbybringing

upthepossibilityoffailureAfterLadyMacbethrsquosshortline thereseemstobean

emotionally chargedsilenceastillnesswhich hangsin theair asLady Macbethdecides

onanothermoreeffectivewaytopersuadeMacbethtocarryout themurder(15)

Thisanalysisusescluesfromthetexttoimaginealivingpersondelivering theselinesThe

reading isessentiallyStanislavskianHeidentifiesldquoobjectivesrdquomdashgoalsortasksmdashand

ldquotacticsrdquomdashtheactions taken toachievesaid goalsortasksmdashthroughthecluesofthe

language(Merlin73)Ofcourse thisisnotthe onlyinterpretiveoptionforplayingthe

Ganger15

scenebuttheworking‐throughofthecharactersrsquothoughtsisa clearexampleofa

Stanislavskianprocess

Usingthetexttosupportlives outsideoftheplayisessentialtothisthesisbecause

mycentralclaimarguesthatsomeofShakespearersquoscharactershaveexperienceda trauma

offstageawayfromthe audience Thereareno writtenwordsthatshowthetrauma

occurringonlycluesthatShakespearehasleft thatitoccurredbefore atsomeprevious

timeThesecluesalonesuggestthatShakespeareknewthathis charactershadlivesbefore

theplaybeganandtheimplicationsmadebythesecluesareas valuableofevidenceasthe

textof thecluesthemselves

Thefinalingredientto thetheoryconnectingproximity traumaandShakespearersquos

characters isthe proximity Theproximityofliving audiencetoliving actorsharinga

performancespaceinfluencesthe empathyof theaudiencetoward a particularcharacter

Shakespearersquosplaysfirstoccurredasperformancesandtheaudienceldquogroundlingsrdquofar

morevocallyandphysicallyinvolved in the action of the plays thanmodernaudiences

wouldever daretobe actively participatedin theirown theatricalexperienceTodaythe

roleoftheaudienceremainsarealcomponentinShakespearersquos playsRobConkiersquosldquoRed

ButtonShakespearerdquoaddressesand refutesclaimsthatperformanceisimpenetrableto

criticismbecauseofthevariablenatureoflive performance3Heusesamethodheterms

3 PersonallyI questionedwhetherIcould discussliveperformances for this paperEveryone who studies King Lear as a work ofliteratureworksfromthe samewords on apagethat documentproviding a foundation for scholarly conversation about the playIf someonewerereadinganarticleabout thetextof King Learall theyneedisto lookto thescriptforreferenceand they wouldbeon roughlythe samepageas thewriterLiveperformancehoweverisan entirelydifferent beastEachperformanceof King Lear willbe differentmdashdifferent actors giving a differentlook andvoice to the characters different directorsgiving different staging to the scenes different budgetsandvenuesproviding varying degreesof reality to technical elementsetcFurthermoreeach performanceexists onlyfor a momentfor theparticular audience present

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger10

candidates forpsychoanlysisSomeofthesecriticswritingthroughoutthelastcentury

includeJohnRusselBrownandArthurColbySpraguewhowerebothwritinginthe1960s

contemporariestoDean and PettetandarguedthatShakespeare cannotbeseparated from

performanceand insistedthathisrealhumancharacterswere themostimportantaspect

ofhisplaysontheElizabethanstage

Perhapsthemostwell‐knowncriticinthistraditionpolarizingashis extremeviews

maybeisHaroldBloomauthorof Shakespeare Invention of the HumanAshis title

suggestsBloomarguesthatShakespeare inventedcharacterpersonalityandWestern

identityasitisunderstoodtodayKnightsrsquosmainargumentis thatShakespeareshouldbe

studiedprimarilyasa poetThoughBloomadmitsShakespearersquos linguisticsuperiorityhe

holdsthatShakespearersquospoetry isnotwhathasmadehislastingimpactItrsquosthe people in

hisplaysmdashhischaractersmdashthathaveaffectedcivilizationandshaped Western culture

Bloomjustifieshispriorityof characterbyexplainingthatldquo[Shakespearersquos]few peersmdash

HomertheYahwistDanteChaucerCervantesTolstoyperhaps Dickensmdashremind usthat

therepresentationofhumancharacterandpersonalityremainsalwaysthesupreme

literaryvaluewhetherin dramalyricornarrativerdquo(3‐4) Inotherwordstheelementthat

makesaworkofliteratureendure throughthecenturiesthatmakesanimpacton history

isprimarilytheportrayalofhumanityandcharacterHow could Bloomdisapproveof

applyingtraumatheorytoShakespearersquoscharacterswhenheviewsthemassuchcomplete

andrealpeople

Unfortunatelythedividebetweenliteratureandperformancepersists even with

BloomInhisstudyofShakespearersquosplaysheforgetsorignoresthatthemediumof

performanceisas importantaway ofexperiencingandstudying Shakespeareas isreading

Ganger11

fromthepageOf King LearBloomsaysldquoIemphasizereadingmore thaneverbecauseI

haveattendedmanystagingsof King Lear andinvariably haveregrettedbeingthereOur

directorsandactorsaredefeated bythisplayandIbeginsadlytoagreehellipthatweoughtto

keeprereading King Lear andavoiditsstaged travestiesrdquo (476)This argument is patently

illogicalSimplybecauseonehas neverseen a performancethat meetshisorher

expectations doesnotjustifydivorcingthehistoricalreality thatShakespearersquosworkswere

originallyperformed King Learorevenfarmoredifficultplaystostageintodayrsquos world

likethe Henry VI trilogyshouldstillbeapproachedwiththemindset thatperformancewas

necessarytotheplayrsquosoriginand istherefore necessaryto itsinterpretation

Thisisnottosaythatactorsanddirectorsarenotoftenguiltyofleaningtoofartothe

oppositesideofthespectrumEspeciallyin todayrsquostheatrical climatewhereldquotraditionalrdquois

adirtyworddirectorsrsquointerpretationsand actorsrsquochoicesbasedtoomuchontheirldquogutrdquo

oftenresultinproductionsthat lackthefocusanddepththat Shakespearersquoswordsdeserve

IdeallyactorswouldrespectShakespearersquosplaysasliterature andscholarswouldrespect

themasperformance

Demonstratingthisbalancebyincludingperformative perspectivein Shakespearean

analysisiscontemporaryscholar CarolChillingtonRutterwho inherbook Enter the Body

Women and Representation on Shakespearersquos Stagediscussestheactorasreallivingbody

andespeciallyfocusesonplaysorscenes inwhichable‐bodied actors portraydisabledor

deadcharactersldquoArealbodyfakestherole ofboguscorpserdquo(2)Thisanalysis hasbroader

implications forShakespearestudiesClearlyitisimportant tolookatShakespearersquos

Ganger12

characters asldquorealrdquo2 becauseofShakespearersquos understandingofhumannatureor

complexityinhisportrayal(bothof whicharecertainly part ofthereasonShakespearersquos

characters shouldbeconsidered realpeople)butbecausetheyare livingbodies Real

peopleembodythecharactersand therefore insomesensethey are real inaphysical

literalway AsEllenTerrystatesldquo[Anactressrsquos]taskis to learnhowto translate this

character intoherself howtomakeits thoughtsherthoughts itswordsherwordsrdquo(80)

LivingphysicalactormustabsorbShakespearersquoslanguagetopresent theliving physical

character

Ifoneconsiderstheseconcepts only hypotheticallywithouttraininginperformance

ldquotranslating[a]characterintordquo oneselfmaysoundhighlysubjectiveandemotionalin

naturewith littlemethodorreasoningrequiredThis assumptionmayaccountforsomeof

theanimositybetween performers ofShakespeareandscholarsof Shakespeare

Pragmaticallyanysolidactortrainingincludestraininginhowtomethodicallygrounda

performanceinthetextoftheworkbeingperformedThis trainingat leastinWestern

theatrewhereShakespeare isstillheldasthecornerstoneof thedramaticcanonwill

inevitablybebasedintheworks oftheseminaldirectorandactortrainerKonstantin

StanislavskiAcclaimed actor(and grandsonofEllenTerry)JohnGielguddeclares

Stanislavskitheldquoauthorityrdquoinacting method(ix)Indeed it wouldnotbetooextremeto

claimthatStanislavski istoactortrainingwhatShakespeareis to the genre of drama

Althoughheworked intheearly 1900sStanislavskirsquosmethodsareappropriatefor actors

2 Iwishthattherewasa clearer termfor whatIwant tocommunicatewhenIdiscussShakespearersquos characters as ldquorealpeoplerdquo Ofcourse Shakespearersquoscharacters are fictionalThey are certainlyeffective representationsof real people andrealreaders and audience membersthroughouthistory have identifiedthemselvesinthemTheimportantpoint of this ldquorealnessrdquoisthat theyalsohavefullthoughfictionallivesbeyondthewords on the pagejust as if one day of my life wererecordedIwould still haveafull lifebefore and after that one day

Ganger13

ofanygenreorperiodandGielgudevenspecifically insiststhatthey aresuitedto

Shakespeare(xiii)

Stanislavskirsquosmethodbywhichalmostevery otherldquomethodrdquohas sprungisbasedona

thoroughstudyandpreparationof thegiventextStanislavski callsthefirststepofa

rehearsalprocessldquoMiningthe Textrdquowhichisldquothekindof analysis[anactor]mightapplyto

ascripteithercollectivelywiththe directoror independentlyaspartof[hisorher]own

detectiveworkrdquoAlthoughmining thetextisldquoessentiallyhead‐ledworkhellipitsreverberations

areprofoundlypsycho‐physicalrdquo(Merlin55)This mining the text isessentiallyclose‐

readingrequiringanactortodiscoverevery possibleclueaplaywrighthasleftforhimor

heraboutacharacter fromwhichtothendevelopandembodyThetermldquogiven

circumstancesrdquoapplies totheeventsoftheplayorthespecificwordsonthepageInorder

totruthfullydevelopa characterStanislavski instructsthat itisldquonecessarytofindoutwhat

underlies[thegivencircumstancesofaplay]gaveriseto themishiddenbehindthemrdquo

(18)TheideaofanteriorspeculationasKnightswouldsayasaconceptremovedfromthe

scriptmdashmerelythefancifulimaginingsofawishfulactormdashcontradictstheveryfoundation

ofanyactortrainingAnylife that anactor imaginesforhis orhercharacterthathas

occurredoffstageofwhichthere arenowrittenwordsmustnecessarilybederivedand

supportedfullybythetext

Iwillprovideabriefexampleof thethoughtprocessanactor mightgothroughin

mining the textwhichcomesfromHarveyRovinersquosbook Silence in Shakespeare Drama

Power and GenderItislargelyalinguistic analysisasthebookfocusesonhow

Shakespeareusesmetertodirecthisactors(anotherconceptany trainedShakespearean

actorwouldbefamiliarwith)Shakespearersquosmeterisone ofthemany aspectsofthescript

Ganger14

thatmightprovidesignificantinformationabouttheactionsonstageldquoShortlinesrdquoor

incomplete linesof iambicpentametercanbeapproachedbyreaders andperformersas

ldquosharingrdquotheverseor by pausing

Thepassage Rovineanalyzesis from Act1Scene7ofMacbeth

LADYMACBETHhellipAnddashrsquodthebrainsouthadIsosworn

Asyouhavedonetothis

MACBETH Ifweshouldfail

LADY MACBETH We fail

Butscrewyourcouragetothestickingplacehellip

Rovinersquosanalysiscontinues

AsIinterpretthesceneMacbethrsquosquestionlsquoIf weshouldfailrsquocompletesLady

MacbethrsquosshortlinelsquoAsyouhavedonetothisrsquoImmediatelyprecedingthisexchange

Macbethhasexpressed hismisgivingsaboutthemurderbothin soliloquyandinthe

dialoguewithhiswifeandheisdeterminedlsquoto proceednofurtherin thisbusinessrsquo

WhenLadyMacbethdescribesher resolveintermsofherwillingness todashoutthe

brainsofhernursinginfantMacbethtriestoundercuther determinationbybringing

upthepossibilityoffailureAfterLadyMacbethrsquosshortline thereseemstobean

emotionally chargedsilenceastillnesswhich hangsin theair asLady Macbethdecides

onanothermoreeffectivewaytopersuadeMacbethtocarryout themurder(15)

Thisanalysisusescluesfromthetexttoimaginealivingpersondelivering theselinesThe

reading isessentiallyStanislavskianHeidentifiesldquoobjectivesrdquomdashgoalsortasksmdashand

ldquotacticsrdquomdashtheactions taken toachievesaid goalsortasksmdashthroughthecluesofthe

language(Merlin73)Ofcourse thisisnotthe onlyinterpretiveoptionforplayingthe

Ganger15

scenebuttheworking‐throughofthecharactersrsquothoughtsisa clearexampleofa

Stanislavskianprocess

Usingthetexttosupportlives outsideoftheplayisessentialtothisthesisbecause

mycentralclaimarguesthatsomeofShakespearersquoscharactershaveexperienceda trauma

offstageawayfromthe audience Thereareno writtenwordsthatshowthetrauma

occurringonlycluesthatShakespearehasleft thatitoccurredbefore atsomeprevious

timeThesecluesalonesuggestthatShakespeareknewthathis charactershadlivesbefore

theplaybeganandtheimplicationsmadebythesecluesareas valuableofevidenceasthe

textof thecluesthemselves

Thefinalingredientto thetheoryconnectingproximity traumaandShakespearersquos

characters isthe proximity Theproximityofliving audiencetoliving actorsharinga

performancespaceinfluencesthe empathyof theaudiencetoward a particularcharacter

Shakespearersquosplaysfirstoccurredasperformancesandtheaudienceldquogroundlingsrdquofar

morevocallyandphysicallyinvolved in the action of the plays thanmodernaudiences

wouldever daretobe actively participatedin theirown theatricalexperienceTodaythe

roleoftheaudienceremainsarealcomponentinShakespearersquos playsRobConkiersquosldquoRed

ButtonShakespearerdquoaddressesand refutesclaimsthatperformanceisimpenetrableto

criticismbecauseofthevariablenatureoflive performance3Heusesamethodheterms

3 PersonallyI questionedwhetherIcould discussliveperformances for this paperEveryone who studies King Lear as a work ofliteratureworksfromthe samewords on apagethat documentproviding a foundation for scholarly conversation about the playIf someonewerereadinganarticleabout thetextof King Learall theyneedisto lookto thescriptforreferenceand they wouldbeon roughlythe samepageas thewriterLiveperformancehoweverisan entirelydifferent beastEachperformanceof King Lear willbe differentmdashdifferent actors giving a differentlook andvoice to the characters different directorsgiving different staging to the scenes different budgetsandvenuesproviding varying degreesof reality to technical elementsetcFurthermoreeach performanceexists onlyfor a momentfor theparticular audience present

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger11

fromthepageOf King LearBloomsaysldquoIemphasizereadingmore thaneverbecauseI

haveattendedmanystagingsof King Lear andinvariably haveregrettedbeingthereOur

directorsandactorsaredefeated bythisplayandIbeginsadlytoagreehellipthatweoughtto

keeprereading King Lear andavoiditsstaged travestiesrdquo (476)This argument is patently

illogicalSimplybecauseonehas neverseen a performancethat meetshisorher

expectations doesnotjustifydivorcingthehistoricalreality thatShakespearersquosworkswere

originallyperformed King Learorevenfarmoredifficultplaystostageintodayrsquos world

likethe Henry VI trilogyshouldstillbeapproachedwiththemindset thatperformancewas

necessarytotheplayrsquosoriginand istherefore necessaryto itsinterpretation

Thisisnottosaythatactorsanddirectorsarenotoftenguiltyofleaningtoofartothe

oppositesideofthespectrumEspeciallyin todayrsquostheatrical climatewhereldquotraditionalrdquois

adirtyworddirectorsrsquointerpretationsand actorsrsquochoicesbasedtoomuchontheirldquogutrdquo

oftenresultinproductionsthat lackthefocusanddepththat Shakespearersquoswordsdeserve

IdeallyactorswouldrespectShakespearersquosplaysasliterature andscholarswouldrespect

themasperformance

Demonstratingthisbalancebyincludingperformative perspectivein Shakespearean

analysisiscontemporaryscholar CarolChillingtonRutterwho inherbook Enter the Body

Women and Representation on Shakespearersquos Stagediscussestheactorasreallivingbody

andespeciallyfocusesonplaysorscenes inwhichable‐bodied actors portraydisabledor

deadcharactersldquoArealbodyfakestherole ofboguscorpserdquo(2)Thisanalysis hasbroader

implications forShakespearestudiesClearlyitisimportant tolookatShakespearersquos

Ganger12

characters asldquorealrdquo2 becauseofShakespearersquos understandingofhumannatureor

complexityinhisportrayal(bothof whicharecertainly part ofthereasonShakespearersquos

characters shouldbeconsidered realpeople)butbecausetheyare livingbodies Real

peopleembodythecharactersand therefore insomesensethey are real inaphysical

literalway AsEllenTerrystatesldquo[Anactressrsquos]taskis to learnhowto translate this

character intoherself howtomakeits thoughtsherthoughts itswordsherwordsrdquo(80)

LivingphysicalactormustabsorbShakespearersquoslanguagetopresent theliving physical

character

Ifoneconsiderstheseconcepts only hypotheticallywithouttraininginperformance

ldquotranslating[a]characterintordquo oneselfmaysoundhighlysubjectiveandemotionalin

naturewith littlemethodorreasoningrequiredThis assumptionmayaccountforsomeof

theanimositybetween performers ofShakespeareandscholarsof Shakespeare

Pragmaticallyanysolidactortrainingincludestraininginhowtomethodicallygrounda

performanceinthetextoftheworkbeingperformedThis trainingat leastinWestern

theatrewhereShakespeare isstillheldasthecornerstoneof thedramaticcanonwill

inevitablybebasedintheworks oftheseminaldirectorandactortrainerKonstantin

StanislavskiAcclaimed actor(and grandsonofEllenTerry)JohnGielguddeclares

Stanislavskitheldquoauthorityrdquoinacting method(ix)Indeed it wouldnotbetooextremeto

claimthatStanislavski istoactortrainingwhatShakespeareis to the genre of drama

Althoughheworked intheearly 1900sStanislavskirsquosmethodsareappropriatefor actors

2 Iwishthattherewasa clearer termfor whatIwant tocommunicatewhenIdiscussShakespearersquos characters as ldquorealpeoplerdquo Ofcourse Shakespearersquoscharacters are fictionalThey are certainlyeffective representationsof real people andrealreaders and audience membersthroughouthistory have identifiedthemselvesinthemTheimportantpoint of this ldquorealnessrdquoisthat theyalsohavefullthoughfictionallivesbeyondthewords on the pagejust as if one day of my life wererecordedIwould still haveafull lifebefore and after that one day

Ganger13

ofanygenreorperiodandGielgudevenspecifically insiststhatthey aresuitedto

Shakespeare(xiii)

Stanislavskirsquosmethodbywhichalmostevery otherldquomethodrdquohas sprungisbasedona

thoroughstudyandpreparationof thegiventextStanislavski callsthefirststepofa

rehearsalprocessldquoMiningthe Textrdquowhichisldquothekindof analysis[anactor]mightapplyto

ascripteithercollectivelywiththe directoror independentlyaspartof[hisorher]own

detectiveworkrdquoAlthoughmining thetextisldquoessentiallyhead‐ledworkhellipitsreverberations

areprofoundlypsycho‐physicalrdquo(Merlin55)This mining the text isessentiallyclose‐

readingrequiringanactortodiscoverevery possibleclueaplaywrighthasleftforhimor

heraboutacharacter fromwhichtothendevelopandembodyThetermldquogiven

circumstancesrdquoapplies totheeventsoftheplayorthespecificwordsonthepageInorder

totruthfullydevelopa characterStanislavski instructsthat itisldquonecessarytofindoutwhat

underlies[thegivencircumstancesofaplay]gaveriseto themishiddenbehindthemrdquo

(18)TheideaofanteriorspeculationasKnightswouldsayasaconceptremovedfromthe

scriptmdashmerelythefancifulimaginingsofawishfulactormdashcontradictstheveryfoundation

ofanyactortrainingAnylife that anactor imaginesforhis orhercharacterthathas

occurredoffstageofwhichthere arenowrittenwordsmustnecessarilybederivedand

supportedfullybythetext

Iwillprovideabriefexampleof thethoughtprocessanactor mightgothroughin

mining the textwhichcomesfromHarveyRovinersquosbook Silence in Shakespeare Drama

Power and GenderItislargelyalinguistic analysisasthebookfocusesonhow

Shakespeareusesmetertodirecthisactors(anotherconceptany trainedShakespearean

actorwouldbefamiliarwith)Shakespearersquosmeterisone ofthemany aspectsofthescript

Ganger14

thatmightprovidesignificantinformationabouttheactionsonstageldquoShortlinesrdquoor

incomplete linesof iambicpentametercanbeapproachedbyreaders andperformersas

ldquosharingrdquotheverseor by pausing

Thepassage Rovineanalyzesis from Act1Scene7ofMacbeth

LADYMACBETHhellipAnddashrsquodthebrainsouthadIsosworn

Asyouhavedonetothis

MACBETH Ifweshouldfail

LADY MACBETH We fail

Butscrewyourcouragetothestickingplacehellip

Rovinersquosanalysiscontinues

AsIinterpretthesceneMacbethrsquosquestionlsquoIf weshouldfailrsquocompletesLady

MacbethrsquosshortlinelsquoAsyouhavedonetothisrsquoImmediatelyprecedingthisexchange

Macbethhasexpressed hismisgivingsaboutthemurderbothin soliloquyandinthe

dialoguewithhiswifeandheisdeterminedlsquoto proceednofurtherin thisbusinessrsquo

WhenLadyMacbethdescribesher resolveintermsofherwillingness todashoutthe

brainsofhernursinginfantMacbethtriestoundercuther determinationbybringing

upthepossibilityoffailureAfterLadyMacbethrsquosshortline thereseemstobean

emotionally chargedsilenceastillnesswhich hangsin theair asLady Macbethdecides

onanothermoreeffectivewaytopersuadeMacbethtocarryout themurder(15)

Thisanalysisusescluesfromthetexttoimaginealivingpersondelivering theselinesThe

reading isessentiallyStanislavskianHeidentifiesldquoobjectivesrdquomdashgoalsortasksmdashand

ldquotacticsrdquomdashtheactions taken toachievesaid goalsortasksmdashthroughthecluesofthe

language(Merlin73)Ofcourse thisisnotthe onlyinterpretiveoptionforplayingthe

Ganger15

scenebuttheworking‐throughofthecharactersrsquothoughtsisa clearexampleofa

Stanislavskianprocess

Usingthetexttosupportlives outsideoftheplayisessentialtothisthesisbecause

mycentralclaimarguesthatsomeofShakespearersquoscharactershaveexperienceda trauma

offstageawayfromthe audience Thereareno writtenwordsthatshowthetrauma

occurringonlycluesthatShakespearehasleft thatitoccurredbefore atsomeprevious

timeThesecluesalonesuggestthatShakespeareknewthathis charactershadlivesbefore

theplaybeganandtheimplicationsmadebythesecluesareas valuableofevidenceasthe

textof thecluesthemselves

Thefinalingredientto thetheoryconnectingproximity traumaandShakespearersquos

characters isthe proximity Theproximityofliving audiencetoliving actorsharinga

performancespaceinfluencesthe empathyof theaudiencetoward a particularcharacter

Shakespearersquosplaysfirstoccurredasperformancesandtheaudienceldquogroundlingsrdquofar

morevocallyandphysicallyinvolved in the action of the plays thanmodernaudiences

wouldever daretobe actively participatedin theirown theatricalexperienceTodaythe

roleoftheaudienceremainsarealcomponentinShakespearersquos playsRobConkiersquosldquoRed

ButtonShakespearerdquoaddressesand refutesclaimsthatperformanceisimpenetrableto

criticismbecauseofthevariablenatureoflive performance3Heusesamethodheterms

3 PersonallyI questionedwhetherIcould discussliveperformances for this paperEveryone who studies King Lear as a work ofliteratureworksfromthe samewords on apagethat documentproviding a foundation for scholarly conversation about the playIf someonewerereadinganarticleabout thetextof King Learall theyneedisto lookto thescriptforreferenceand they wouldbeon roughlythe samepageas thewriterLiveperformancehoweverisan entirelydifferent beastEachperformanceof King Lear willbe differentmdashdifferent actors giving a differentlook andvoice to the characters different directorsgiving different staging to the scenes different budgetsandvenuesproviding varying degreesof reality to technical elementsetcFurthermoreeach performanceexists onlyfor a momentfor theparticular audience present

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger12

characters asldquorealrdquo2 becauseofShakespearersquos understandingofhumannatureor

complexityinhisportrayal(bothof whicharecertainly part ofthereasonShakespearersquos

characters shouldbeconsidered realpeople)butbecausetheyare livingbodies Real

peopleembodythecharactersand therefore insomesensethey are real inaphysical

literalway AsEllenTerrystatesldquo[Anactressrsquos]taskis to learnhowto translate this

character intoherself howtomakeits thoughtsherthoughts itswordsherwordsrdquo(80)

LivingphysicalactormustabsorbShakespearersquoslanguagetopresent theliving physical

character

Ifoneconsiderstheseconcepts only hypotheticallywithouttraininginperformance

ldquotranslating[a]characterintordquo oneselfmaysoundhighlysubjectiveandemotionalin

naturewith littlemethodorreasoningrequiredThis assumptionmayaccountforsomeof

theanimositybetween performers ofShakespeareandscholarsof Shakespeare

Pragmaticallyanysolidactortrainingincludestraininginhowtomethodicallygrounda

performanceinthetextoftheworkbeingperformedThis trainingat leastinWestern

theatrewhereShakespeare isstillheldasthecornerstoneof thedramaticcanonwill

inevitablybebasedintheworks oftheseminaldirectorandactortrainerKonstantin

StanislavskiAcclaimed actor(and grandsonofEllenTerry)JohnGielguddeclares

Stanislavskitheldquoauthorityrdquoinacting method(ix)Indeed it wouldnotbetooextremeto

claimthatStanislavski istoactortrainingwhatShakespeareis to the genre of drama

Althoughheworked intheearly 1900sStanislavskirsquosmethodsareappropriatefor actors

2 Iwishthattherewasa clearer termfor whatIwant tocommunicatewhenIdiscussShakespearersquos characters as ldquorealpeoplerdquo Ofcourse Shakespearersquoscharacters are fictionalThey are certainlyeffective representationsof real people andrealreaders and audience membersthroughouthistory have identifiedthemselvesinthemTheimportantpoint of this ldquorealnessrdquoisthat theyalsohavefullthoughfictionallivesbeyondthewords on the pagejust as if one day of my life wererecordedIwould still haveafull lifebefore and after that one day

Ganger13

ofanygenreorperiodandGielgudevenspecifically insiststhatthey aresuitedto

Shakespeare(xiii)

Stanislavskirsquosmethodbywhichalmostevery otherldquomethodrdquohas sprungisbasedona

thoroughstudyandpreparationof thegiventextStanislavski callsthefirststepofa

rehearsalprocessldquoMiningthe Textrdquowhichisldquothekindof analysis[anactor]mightapplyto

ascripteithercollectivelywiththe directoror independentlyaspartof[hisorher]own

detectiveworkrdquoAlthoughmining thetextisldquoessentiallyhead‐ledworkhellipitsreverberations

areprofoundlypsycho‐physicalrdquo(Merlin55)This mining the text isessentiallyclose‐

readingrequiringanactortodiscoverevery possibleclueaplaywrighthasleftforhimor

heraboutacharacter fromwhichtothendevelopandembodyThetermldquogiven

circumstancesrdquoapplies totheeventsoftheplayorthespecificwordsonthepageInorder

totruthfullydevelopa characterStanislavski instructsthat itisldquonecessarytofindoutwhat

underlies[thegivencircumstancesofaplay]gaveriseto themishiddenbehindthemrdquo

(18)TheideaofanteriorspeculationasKnightswouldsayasaconceptremovedfromthe

scriptmdashmerelythefancifulimaginingsofawishfulactormdashcontradictstheveryfoundation

ofanyactortrainingAnylife that anactor imaginesforhis orhercharacterthathas

occurredoffstageofwhichthere arenowrittenwordsmustnecessarilybederivedand

supportedfullybythetext

Iwillprovideabriefexampleof thethoughtprocessanactor mightgothroughin

mining the textwhichcomesfromHarveyRovinersquosbook Silence in Shakespeare Drama

Power and GenderItislargelyalinguistic analysisasthebookfocusesonhow

Shakespeareusesmetertodirecthisactors(anotherconceptany trainedShakespearean

actorwouldbefamiliarwith)Shakespearersquosmeterisone ofthemany aspectsofthescript

Ganger14

thatmightprovidesignificantinformationabouttheactionsonstageldquoShortlinesrdquoor

incomplete linesof iambicpentametercanbeapproachedbyreaders andperformersas

ldquosharingrdquotheverseor by pausing

Thepassage Rovineanalyzesis from Act1Scene7ofMacbeth

LADYMACBETHhellipAnddashrsquodthebrainsouthadIsosworn

Asyouhavedonetothis

MACBETH Ifweshouldfail

LADY MACBETH We fail

Butscrewyourcouragetothestickingplacehellip

Rovinersquosanalysiscontinues

AsIinterpretthesceneMacbethrsquosquestionlsquoIf weshouldfailrsquocompletesLady

MacbethrsquosshortlinelsquoAsyouhavedonetothisrsquoImmediatelyprecedingthisexchange

Macbethhasexpressed hismisgivingsaboutthemurderbothin soliloquyandinthe

dialoguewithhiswifeandheisdeterminedlsquoto proceednofurtherin thisbusinessrsquo

WhenLadyMacbethdescribesher resolveintermsofherwillingness todashoutthe

brainsofhernursinginfantMacbethtriestoundercuther determinationbybringing

upthepossibilityoffailureAfterLadyMacbethrsquosshortline thereseemstobean

emotionally chargedsilenceastillnesswhich hangsin theair asLady Macbethdecides

onanothermoreeffectivewaytopersuadeMacbethtocarryout themurder(15)

Thisanalysisusescluesfromthetexttoimaginealivingpersondelivering theselinesThe

reading isessentiallyStanislavskianHeidentifiesldquoobjectivesrdquomdashgoalsortasksmdashand

ldquotacticsrdquomdashtheactions taken toachievesaid goalsortasksmdashthroughthecluesofthe

language(Merlin73)Ofcourse thisisnotthe onlyinterpretiveoptionforplayingthe

Ganger15

scenebuttheworking‐throughofthecharactersrsquothoughtsisa clearexampleofa

Stanislavskianprocess

Usingthetexttosupportlives outsideoftheplayisessentialtothisthesisbecause

mycentralclaimarguesthatsomeofShakespearersquoscharactershaveexperienceda trauma

offstageawayfromthe audience Thereareno writtenwordsthatshowthetrauma

occurringonlycluesthatShakespearehasleft thatitoccurredbefore atsomeprevious

timeThesecluesalonesuggestthatShakespeareknewthathis charactershadlivesbefore

theplaybeganandtheimplicationsmadebythesecluesareas valuableofevidenceasthe

textof thecluesthemselves

Thefinalingredientto thetheoryconnectingproximity traumaandShakespearersquos

characters isthe proximity Theproximityofliving audiencetoliving actorsharinga

performancespaceinfluencesthe empathyof theaudiencetoward a particularcharacter

Shakespearersquosplaysfirstoccurredasperformancesandtheaudienceldquogroundlingsrdquofar

morevocallyandphysicallyinvolved in the action of the plays thanmodernaudiences

wouldever daretobe actively participatedin theirown theatricalexperienceTodaythe

roleoftheaudienceremainsarealcomponentinShakespearersquos playsRobConkiersquosldquoRed

ButtonShakespearerdquoaddressesand refutesclaimsthatperformanceisimpenetrableto

criticismbecauseofthevariablenatureoflive performance3Heusesamethodheterms

3 PersonallyI questionedwhetherIcould discussliveperformances for this paperEveryone who studies King Lear as a work ofliteratureworksfromthe samewords on apagethat documentproviding a foundation for scholarly conversation about the playIf someonewerereadinganarticleabout thetextof King Learall theyneedisto lookto thescriptforreferenceand they wouldbeon roughlythe samepageas thewriterLiveperformancehoweverisan entirelydifferent beastEachperformanceof King Lear willbe differentmdashdifferent actors giving a differentlook andvoice to the characters different directorsgiving different staging to the scenes different budgetsandvenuesproviding varying degreesof reality to technical elementsetcFurthermoreeach performanceexists onlyfor a momentfor theparticular audience present

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger13

ofanygenreorperiodandGielgudevenspecifically insiststhatthey aresuitedto

Shakespeare(xiii)

Stanislavskirsquosmethodbywhichalmostevery otherldquomethodrdquohas sprungisbasedona

thoroughstudyandpreparationof thegiventextStanislavski callsthefirststepofa

rehearsalprocessldquoMiningthe Textrdquowhichisldquothekindof analysis[anactor]mightapplyto

ascripteithercollectivelywiththe directoror independentlyaspartof[hisorher]own

detectiveworkrdquoAlthoughmining thetextisldquoessentiallyhead‐ledworkhellipitsreverberations

areprofoundlypsycho‐physicalrdquo(Merlin55)This mining the text isessentiallyclose‐

readingrequiringanactortodiscoverevery possibleclueaplaywrighthasleftforhimor

heraboutacharacter fromwhichtothendevelopandembodyThetermldquogiven

circumstancesrdquoapplies totheeventsoftheplayorthespecificwordsonthepageInorder

totruthfullydevelopa characterStanislavski instructsthat itisldquonecessarytofindoutwhat

underlies[thegivencircumstancesofaplay]gaveriseto themishiddenbehindthemrdquo

(18)TheideaofanteriorspeculationasKnightswouldsayasaconceptremovedfromthe

scriptmdashmerelythefancifulimaginingsofawishfulactormdashcontradictstheveryfoundation

ofanyactortrainingAnylife that anactor imaginesforhis orhercharacterthathas

occurredoffstageofwhichthere arenowrittenwordsmustnecessarilybederivedand

supportedfullybythetext

Iwillprovideabriefexampleof thethoughtprocessanactor mightgothroughin

mining the textwhichcomesfromHarveyRovinersquosbook Silence in Shakespeare Drama

Power and GenderItislargelyalinguistic analysisasthebookfocusesonhow

Shakespeareusesmetertodirecthisactors(anotherconceptany trainedShakespearean

actorwouldbefamiliarwith)Shakespearersquosmeterisone ofthemany aspectsofthescript

Ganger14

thatmightprovidesignificantinformationabouttheactionsonstageldquoShortlinesrdquoor

incomplete linesof iambicpentametercanbeapproachedbyreaders andperformersas

ldquosharingrdquotheverseor by pausing

Thepassage Rovineanalyzesis from Act1Scene7ofMacbeth

LADYMACBETHhellipAnddashrsquodthebrainsouthadIsosworn

Asyouhavedonetothis

MACBETH Ifweshouldfail

LADY MACBETH We fail

Butscrewyourcouragetothestickingplacehellip

Rovinersquosanalysiscontinues

AsIinterpretthesceneMacbethrsquosquestionlsquoIf weshouldfailrsquocompletesLady

MacbethrsquosshortlinelsquoAsyouhavedonetothisrsquoImmediatelyprecedingthisexchange

Macbethhasexpressed hismisgivingsaboutthemurderbothin soliloquyandinthe

dialoguewithhiswifeandheisdeterminedlsquoto proceednofurtherin thisbusinessrsquo

WhenLadyMacbethdescribesher resolveintermsofherwillingness todashoutthe

brainsofhernursinginfantMacbethtriestoundercuther determinationbybringing

upthepossibilityoffailureAfterLadyMacbethrsquosshortline thereseemstobean

emotionally chargedsilenceastillnesswhich hangsin theair asLady Macbethdecides

onanothermoreeffectivewaytopersuadeMacbethtocarryout themurder(15)

Thisanalysisusescluesfromthetexttoimaginealivingpersondelivering theselinesThe

reading isessentiallyStanislavskianHeidentifiesldquoobjectivesrdquomdashgoalsortasksmdashand

ldquotacticsrdquomdashtheactions taken toachievesaid goalsortasksmdashthroughthecluesofthe

language(Merlin73)Ofcourse thisisnotthe onlyinterpretiveoptionforplayingthe

Ganger15

scenebuttheworking‐throughofthecharactersrsquothoughtsisa clearexampleofa

Stanislavskianprocess

Usingthetexttosupportlives outsideoftheplayisessentialtothisthesisbecause

mycentralclaimarguesthatsomeofShakespearersquoscharactershaveexperienceda trauma

offstageawayfromthe audience Thereareno writtenwordsthatshowthetrauma

occurringonlycluesthatShakespearehasleft thatitoccurredbefore atsomeprevious

timeThesecluesalonesuggestthatShakespeareknewthathis charactershadlivesbefore

theplaybeganandtheimplicationsmadebythesecluesareas valuableofevidenceasthe

textof thecluesthemselves

Thefinalingredientto thetheoryconnectingproximity traumaandShakespearersquos

characters isthe proximity Theproximityofliving audiencetoliving actorsharinga

performancespaceinfluencesthe empathyof theaudiencetoward a particularcharacter

Shakespearersquosplaysfirstoccurredasperformancesandtheaudienceldquogroundlingsrdquofar

morevocallyandphysicallyinvolved in the action of the plays thanmodernaudiences

wouldever daretobe actively participatedin theirown theatricalexperienceTodaythe

roleoftheaudienceremainsarealcomponentinShakespearersquos playsRobConkiersquosldquoRed

ButtonShakespearerdquoaddressesand refutesclaimsthatperformanceisimpenetrableto

criticismbecauseofthevariablenatureoflive performance3Heusesamethodheterms

3 PersonallyI questionedwhetherIcould discussliveperformances for this paperEveryone who studies King Lear as a work ofliteratureworksfromthe samewords on apagethat documentproviding a foundation for scholarly conversation about the playIf someonewerereadinganarticleabout thetextof King Learall theyneedisto lookto thescriptforreferenceand they wouldbeon roughlythe samepageas thewriterLiveperformancehoweverisan entirelydifferent beastEachperformanceof King Lear willbe differentmdashdifferent actors giving a differentlook andvoice to the characters different directorsgiving different staging to the scenes different budgetsandvenuesproviding varying degreesof reality to technical elementsetcFurthermoreeach performanceexists onlyfor a momentfor theparticular audience present

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger14

thatmightprovidesignificantinformationabouttheactionsonstageldquoShortlinesrdquoor

incomplete linesof iambicpentametercanbeapproachedbyreaders andperformersas

ldquosharingrdquotheverseor by pausing

Thepassage Rovineanalyzesis from Act1Scene7ofMacbeth

LADYMACBETHhellipAnddashrsquodthebrainsouthadIsosworn

Asyouhavedonetothis

MACBETH Ifweshouldfail

LADY MACBETH We fail

Butscrewyourcouragetothestickingplacehellip

Rovinersquosanalysiscontinues

AsIinterpretthesceneMacbethrsquosquestionlsquoIf weshouldfailrsquocompletesLady

MacbethrsquosshortlinelsquoAsyouhavedonetothisrsquoImmediatelyprecedingthisexchange

Macbethhasexpressed hismisgivingsaboutthemurderbothin soliloquyandinthe

dialoguewithhiswifeandheisdeterminedlsquoto proceednofurtherin thisbusinessrsquo

WhenLadyMacbethdescribesher resolveintermsofherwillingness todashoutthe

brainsofhernursinginfantMacbethtriestoundercuther determinationbybringing

upthepossibilityoffailureAfterLadyMacbethrsquosshortline thereseemstobean

emotionally chargedsilenceastillnesswhich hangsin theair asLady Macbethdecides

onanothermoreeffectivewaytopersuadeMacbethtocarryout themurder(15)

Thisanalysisusescluesfromthetexttoimaginealivingpersondelivering theselinesThe

reading isessentiallyStanislavskianHeidentifiesldquoobjectivesrdquomdashgoalsortasksmdashand

ldquotacticsrdquomdashtheactions taken toachievesaid goalsortasksmdashthroughthecluesofthe

language(Merlin73)Ofcourse thisisnotthe onlyinterpretiveoptionforplayingthe

Ganger15

scenebuttheworking‐throughofthecharactersrsquothoughtsisa clearexampleofa

Stanislavskianprocess

Usingthetexttosupportlives outsideoftheplayisessentialtothisthesisbecause

mycentralclaimarguesthatsomeofShakespearersquoscharactershaveexperienceda trauma

offstageawayfromthe audience Thereareno writtenwordsthatshowthetrauma

occurringonlycluesthatShakespearehasleft thatitoccurredbefore atsomeprevious

timeThesecluesalonesuggestthatShakespeareknewthathis charactershadlivesbefore

theplaybeganandtheimplicationsmadebythesecluesareas valuableofevidenceasthe

textof thecluesthemselves

Thefinalingredientto thetheoryconnectingproximity traumaandShakespearersquos

characters isthe proximity Theproximityofliving audiencetoliving actorsharinga

performancespaceinfluencesthe empathyof theaudiencetoward a particularcharacter

Shakespearersquosplaysfirstoccurredasperformancesandtheaudienceldquogroundlingsrdquofar

morevocallyandphysicallyinvolved in the action of the plays thanmodernaudiences

wouldever daretobe actively participatedin theirown theatricalexperienceTodaythe

roleoftheaudienceremainsarealcomponentinShakespearersquos playsRobConkiersquosldquoRed

ButtonShakespearerdquoaddressesand refutesclaimsthatperformanceisimpenetrableto

criticismbecauseofthevariablenatureoflive performance3Heusesamethodheterms

3 PersonallyI questionedwhetherIcould discussliveperformances for this paperEveryone who studies King Lear as a work ofliteratureworksfromthe samewords on apagethat documentproviding a foundation for scholarly conversation about the playIf someonewerereadinganarticleabout thetextof King Learall theyneedisto lookto thescriptforreferenceand they wouldbeon roughlythe samepageas thewriterLiveperformancehoweverisan entirelydifferent beastEachperformanceof King Lear willbe differentmdashdifferent actors giving a differentlook andvoice to the characters different directorsgiving different staging to the scenes different budgetsandvenuesproviding varying degreesof reality to technical elementsetcFurthermoreeach performanceexists onlyfor a momentfor theparticular audience present

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger15

scenebuttheworking‐throughofthecharactersrsquothoughtsisa clearexampleofa

Stanislavskianprocess

Usingthetexttosupportlives outsideoftheplayisessentialtothisthesisbecause

mycentralclaimarguesthatsomeofShakespearersquoscharactershaveexperienceda trauma

offstageawayfromthe audience Thereareno writtenwordsthatshowthetrauma

occurringonlycluesthatShakespearehasleft thatitoccurredbefore atsomeprevious

timeThesecluesalonesuggestthatShakespeareknewthathis charactershadlivesbefore

theplaybeganandtheimplicationsmadebythesecluesareas valuableofevidenceasthe

textof thecluesthemselves

Thefinalingredientto thetheoryconnectingproximity traumaandShakespearersquos

characters isthe proximity Theproximityofliving audiencetoliving actorsharinga

performancespaceinfluencesthe empathyof theaudiencetoward a particularcharacter

Shakespearersquosplaysfirstoccurredasperformancesandtheaudienceldquogroundlingsrdquofar

morevocallyandphysicallyinvolved in the action of the plays thanmodernaudiences

wouldever daretobe actively participatedin theirown theatricalexperienceTodaythe

roleoftheaudienceremainsarealcomponentinShakespearersquos playsRobConkiersquosldquoRed

ButtonShakespearerdquoaddressesand refutesclaimsthatperformanceisimpenetrableto

criticismbecauseofthevariablenatureoflive performance3Heusesamethodheterms

3 PersonallyI questionedwhetherIcould discussliveperformances for this paperEveryone who studies King Lear as a work ofliteratureworksfromthe samewords on apagethat documentproviding a foundation for scholarly conversation about the playIf someonewerereadinganarticleabout thetextof King Learall theyneedisto lookto thescriptforreferenceand they wouldbeon roughlythe samepageas thewriterLiveperformancehoweverisan entirelydifferent beastEachperformanceof King Lear willbe differentmdashdifferent actors giving a differentlook andvoice to the characters different directorsgiving different staging to the scenes different budgetsandvenuesproviding varying degreesof reality to technical elementsetcFurthermoreeach performanceexists onlyfor a momentfor theparticular audience present

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger16

ldquoRedButtonrdquotoprovidedetailed play‐by‐playactionof a scene from Shakespearersquos King

Learperformedatthe Globein2008 frommultipleperspectivesas recordedby himasan

audiencemembersittingin variousplacesinthetheatre reactionsofotherspecific

audiencemembersalongwithotherrecorded reviewsof theproductionandscreenshots

fromtheGlobearchivesHisdocumentation ofthislivetheatre experienceconfirmsthe

valueofthepositionof anaudiencememberAsagroundlingstandingattheedgeofthe

stagehe recordsldquoHerefront and centreand sooftendirectlyappealedtothisposition

foregroundedthenotionofempathysympathyandidentification withthedispossessedor

thosesufferingwithin theplayrdquo (134)Thefurtherbackinthe audienceConkiesits(the

furtherhephysicallymovesfrom theaction)themoredistancedhe feelsfromthe

charactersrsquo experiences Hisrecordedobservationsand screenshotsoffellowaudience

membersrsquoreactionsseemtoindicatethesametrendThosestandingatthefootofthestage

displayedthemosthorrorattheplayrsquosviolence andthe mostemotiontotheplayrsquostragic

endingProximityclearlyinfluencesempathyThedistance only growsasthecharactersrsquo

experiences areremovedoffstageorbefore theactionof theplaybegins

Ofcourse mytheory ofaudience proximity toacharacterrsquostraumaisnotcontingent

upontheaudience membersatthe frontofatheatrecomparedto thoseatthebackofa

theatreHoweverevidencesuggestingthatacloserphysicaldistancetoeventsenhances

empathysupportstheoverallclaimbecausehowmuchlessempathy mustanaudience feel

foracharacterwhosetraumaoccurredoff‐stageoutofsight anddistancedbytimeaswell

asspaceInareviewofempathy literatureJakobEklunddefinesthecontemporary

and thenis goneTextis permanent performanceistemporary Readinghowotherscholarshadapproachedliveperformancesintheirwritingprovided good examplesfor me toworkfrom and gaveme confidencethatIcouldingoodconscience useliveperformancesfor myarguments

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger17

understandingof empathy asldquofeelingssimilar tothoseof theotherpersonaspecialfeeling

ofcompassionunderstandingor carerdquo(29)As audience membersweweepin Act5of

King Lear becausewe feelhispain WecaredeeplythatCordeliahasbeenkilledand

understandhisconfusionanddespair

Shakespeare himselfinvokesthe imagination ofhisaudiencein thetextofhisplays

In King Henry VtheChorusspeaksdirectlyto theaudiencethroughouttheplayasking

themtobuyintothe realitypresentedbythe actingcompanyTheChorusintheopening

linesoftheplaydeclares

Oforamuseoffirethatwouldascend

Thebrightestheavenofinvention

Akingdomforastage princesto act

Andmonarchstobehold theswellingscene

ThenshouldthewarlikeHarrylikehimself

AssumetheportofMarsandathisheels

Leashedinlikehoundsshouldfamineswordandfire

CrouchforemploymentButpardongentlesall

Theflatunraisedspiritsthathath darrsquod

Onthisunworthyscaffoldtobringforth

SogreatanobjectCan thiscockpit hold

ThevastyfieldsofFranceormaywecram

Withinthis woodenOtheverycasques

Thatdid affrightthe air atAgincourt

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger18

Opardonsinceacrookedfiguremay

Attestinlittleplacea million

Andletus cypherstothisgreataccompt

Onyourimaginary forceswork

Supposewithinthegirdleofthese walls

Arenowconfinrsquodtwo mightymonarchies

Whosehighupreared andabuttingfronts

Theperilous narrowoceanpartsasunder

Pieceoutourimperfectionswithyourthoughts

Intoathousandpartsdivideoneman

Andmake imaginarypuissance

Thinkwhenwetalkofhorsesthatyouseethem

Printingtheirproudhoofsirsquothereceivingearth

Forlsquotisyourthoughtsthatnowmustdeckourkings

Carrythem hereandtherejumping orsquoertimes

Turningthrsquoaccomplishmentofmanyyears

Intoanhour‐glassforthewhichsupply

AdmitmeChorustothishistory

Whoprologue‐likeyour humblepatiencepray

Gentlytohearkindlytojudgeour play(1Prologue)

Shakespeareasaplaywrightand actorlamentshisinabilitytotrulycapturehistoryHe

admitshisownandhisactingcompanyrsquosshortcomings inimitatingsomeofthegreatest

eventsinEnglandrsquoshistoryHisfirstinvocationistoagreatermusethanhewhocouldlike

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger19

magicmaketheevents reallyappearbeforean audience IfldquoHarryrdquo KingHenry himself

couldappearbeforetheaudience itwouldbeagreaterspectaclethanamereperformance

(ln1‐8)Insteadactorsldquoflatunraisedspiritsrdquo andastageldquothisunworthyscaffoldrdquoarethe

onlytoolsatShakespearersquosdisposaltoretellldquosogreatanobjectrdquo(91011)This prologue

askshowcanthisplaypossiblyworkAndinaskinghow King Henry V worksheaskshow

theentire premiseoftheatreworksandhasalwaysworkedsinceits firstcreationHow

doesaplaywrightandagroupof actors(althoughtodaythereis amuchlargerteam

involved)create ameaningfulworkofart and anentertaining experience foran audience

HeanswersthisquestionldquoOnyour imaginaryforcesworkrdquo(18) TherestoftheChorusrsquos

prologueinvites theaudience to jointhemto ldquopieceout[the actorsrsquo] imperfectionswith

[their]thoughtsrdquotoagreethat whileinthissharedspaceforthissharedtime theyreally

areallinataverninEast‐cheaporonabattlefieldinFranceorinKingHenryrsquosthrone

room(23) TheprologueisapowerfulviewintoShakespearersquosown perceptionofthe

audiencemdashhowtrulyinvolvedtheyareShakespeare giveshisaudiencearesponsibilityto

bemorethanmerelyspectators butalsoparticipantsin theactofcreationThe audience

mustplayaroleinthecreation of Shakespearersquoscharactersaseither villainorvictimIfa

characteristobeavillainshemustbehatedbytheaudienceandshecannotbesowithout

theaudiencersquoshatred Likewise ifacharacteristobeavictimormartyrshemustbeloved

bytheaudienceandit mustempathizewithherpain

ShakespearersquosownMiranda in The Tempest isoneofthemanycharacterswhoact

asaudiencethemselvesMiranda witnesses ahorrifyingshipwreckandShakespearersquos

understandingofproximityand traumacanbesummedupinherpowerfullineldquoOIhave

sufferedWiththosethatIsawsufferrdquo(125‐6)TheaudiencelikeMiranda onlysuffers

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger20

withthoseitseessuffermost evidentin theplaysinwhich Shakespeare pairshis female

archetypes sidebysideleaving thosecharacterswithhiddentraumaswithnowitnessno

empathizer tostopthecycleofcrueltyand violence

Shakespeare anticipatestheinsightsofmoderntraumascholarsmdashtheabsenceofan

audience witnessleavesthecharacterneverhavinghadtheopportunitytospeakher

painfulexperience Thelackofa witnessis instrumentalinShakespearersquoscreationof

villainouscharactersandcompellingworksoftheatreOntheonehandtheldquovillainrdquo

replaysher ownpersonaltragedy inthesamewaythatFreudreflecteduponthe

nightmares oftraumatizedindividualscausingfurtherdestructionto herselfandothers

whereas theldquovictimrdquoescapesthis cycleentirelytheaudiencersquoswitnesscreating apathto

processhersufferings inahealthy redemptivewayAt thesametime thispattern serves

Shakespearersquosworkas aplaywright becauseinorderfor a villain tobeinteresting she

musthavesomedepthandweaknesstocreatedramaandconflict Thisinterest isprecisely

theresultofdeep‐seatedtrauma Ofcoursetheremight beotherwaystocreate

interesting villains ThisparticularchoicethenmdashtheunwitnessedpainofShakespearersquos

femalevillainsmdashshowshisuncannyinsightintowhatwouldlater becomemoderntrauma

theory

ForthepracticalportionofthispaperIwill performprimarilyaclose‐reading of

threeplays inwhichbothanldquoevilrdquoandaldquogoodrdquowomanplayprominentrolesmdashTitus

Andronicus King Learand MacbethNamingarchetypesforShakespearersquoswomenis

difficultandIhavestruggledwith titlessince thebeginning ofthisprojectrsquosconception

EllenTerry categorized womeninthecomediesasldquoTriumphantrdquoand womeninthe

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger21

tragediesas ldquoPatheticrdquobutalsofoundthatlabelingShakespearersquoswomenfelttoo

simplisticldquoShakespearersquoscharactersare far tooidiosyncratic tofit thisorthatmouldrdquo(80)

Iagreewholeheartedly buthave nevertheless decidedon terms tofacilitatemyargument

The villain archetypeseemssimpleenoughfortheldquoevilrdquowomenbutfortheldquogoodrdquowomen

sometimes victim feelsappropriatesometimes martyrandsometimesthesetitleswill

havetosufficewherereallythecharacteris neithertruly avictimormartyrInessencethe

audience revilesthevillainarchetypeandsympathizeswiththe victimarchetype

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger22

Act2

TheWomenandWoundsof Titus Andronicus

Inmyfirst phaseofanalysisIwill discuss Titus Andronicuswhichfeaturestwo

womenwhoembodyShakespearersquosopposingarchetypesmdashTamorathe villain andLavinia

themartyrLaviniawho losesherabilitytocommunicateearly inthe playhasstilldrawn

farmorescholarlyattention than Tamora4whocontrolsmostoftheplotoftheplayIn

severalsceneswhichIwilldiscussinmoredetailShakespearepitsthetwowomen

directlyagainstoneanotheras predator and preyTamoraascends asempress ofRome

whileorchestrating asystematic assaultonTitusrsquosfamilyleavingseveralchildrenkilled

severalothersexiled Titushimselfmutilatedandorderingtherape andmutilationof

Laviniawho endstheplaytriumphantand vindicatedalbeitdeadthroughher fatherrsquos

revengeon Tamora

Theplotoftheplayaloneis enoughtoidentifyTamoraasavillainandLaviniaasan

innocentvictimbutnowhereis it moreclear thatShakespeare hasplacedthese twoas

archetypal binariesas intheclassicallusionstoOvidrsquos MetamorphosesShakespeare

generouslyborrowsfromOvidrsquosstoryofTereusProcne andPhilomelthroughouttheplay

depictingLaviniaastheviolatedPhilomelandTamoraas thewicked TereusInAct2Scene

2BassianusandLaviniahavediscovered Tamoraand Aaroninthe forest Chiron and

Demetrius directedearlierbyAaronappear undertheguiseof defendingtheirmother

4 Although Lavinia garners the majorityof scholarlyinterestJaneGrogan provides an interestinghistorical observation aboutTamora whichattempts to treat her withsome sympathyShe discusses Tamorarsquos similarity tothePersianqueenTomyrisalegendaryqueenwho forcedCyrus toeathis childreninrevenge Unfortunatelythe similarities betweenTamora andTomyrisend attheirnamesIf Shakespeareborrows from thisstoryat allhehas subverted the Tomyrisstorymaking Tamora theCyrusforced toeather childrenand Titus thejustifiedTomyris

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger23

murderBassianusand dragLaviniaoffannouncingtheir intentionto rapeherDespite the

factthatChironandDemetriusaretherealphysicalthreatsLaviniabegsTamora for

mercyldquoOTamorabecalledagentlequeenAndwiththineown handskillmeinthis

placehellipOkeepmefrom theirworse‐than‐killinglustAndtumblemeintosome

loathsomepitWherenevermanrsquos eyemaybeholdmybodyDothisandbeacharitable

murdererrdquo (Shakespeare22168‐169175‐178)Herpleasare reminiscentof Philomelrsquos

pleastoTereusin Metamorphoses ldquoYoutraitorwhynottaketocrownyourcrimesMy

lifeaswellWouldGod yoursquodtakenitBeforeyouwreakedyour wickednessmyghost

Hadthenbeen freefromguiltrdquo(138)BycomparingTamoratoTereuswithChironand

Demetriusmerelyplayingpuppet totheirmotherrsquosdesiresShakespearecolludesTamora

inLaviniarsquosrapetothe point thatshecarriesequalormore blamethanhersons who

committhephysicalactIfLavinia isPhilomeltheviolated Tamorais Tereusthe violator

The Metamorphosesrsquos allusionscenteron asexualencounterand the charactersrsquo

sexualidentitiesarehighlysuggestiveof their archetypal rolesfurtherhighlightedin

ShakespearersquosuseofotherclassicalallusionsShakespearecompares Laviniato mythical

figuresLucreceandVirginia(Shakespeare4163‐645349)Thesecharactersalongwith

theaforementioned PhilomelaresexualinnocentswhoarerapedLucrececommits

suicideand VirginiarsquosfatherkillshertosaveherfromhershameTitus followsthis

traditionby killingLavinia explainingldquoKilled herforwho mytearshavebeenmadeblind

IamaswoefulasVirginiuswasAndhaveathousandtimesmorecausethanheTodo

thisoutrageanditnow isdonerdquo(5348‐51) Killedasasacrificefor thesinscommitted

againsther Laviniarsquosdeathis amartyrdomIn sharpcontrast toLaviniarsquosinnocence

Tamoraisdepicted ashighlysexual explicitlyhavingan affairwithAaronbywhomshe

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger24

bearsachildoutofwedlockShakespearedrawsanother classicalallusionbycomparing

Tamoratotheunfaithfulwifeof Actaeon(2266‐71)Hisallusionswouldhavebeen

apparent to theeducatedupper‐classElizabethanaudiencesandcertainlyshoulddraw

readersrsquoattentionstothewayshis characters arepitted against one anotherona nearly

mythicalscale

Inorder to opposeLaviniaand Tamorarsquosarchetypalcharacters intherealmof

performanceShakespeareutilizes hisaudienceTherelationshipbetweenlivingactorand

living audiencemanipulatesthese otherwisestraightforwardcharactersandallows

Shakespearetowrite real peoplewithoutlosinghisarchetypeswhichotherwisecould

potentiallybeflatandaridThe proximityoftheaudience to thecharacterrsquostrauma

manipulatesitsrelationshipto thatcharacterLaviniaexperiences two horrificevents

withinquick successionbothexposedonstagephysicallyclose totheaudience FirstinAct

2Scene2 LaviniarsquoshusbandBassianusismurderedbeforehereyes Theaudiencersquos

experience ofthisevent isidenticaltothatofLaviniaWeseeitalongsideherLavinia

describesthedepthof thisexperienceasldquoPoorIwasslainwhenBassianusdiedrdquo

(Shakespeare22171) ThefarmoreviolenttraumawhichIhavealreadymentioned

followsshortlyChiron stateshisintentionwith LaviniabysayingldquoDraghenceherhusband

tosomesecretholeAndmakehisdeadtrunkpillowtoourlusthellipComemistressnow

perforcewewillenjoyThatnice‐preservedhonestyofyoursrdquo(22129‐130134‐135)

Althoughtheactualactofrape occursoffstagetheinitialactofviolationoccurs

onstageHarveyRovinersquosmethod ofreadingShakespeare subscribingtothebeliefthat

Shakespearersquoslanguage directsthe actorsrsquoactionsmaybeappliedto thisscene withgreat

effectThescansionof Act2Scene2isimportantininterpretingthecharactersrsquoactions

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger25

LAVINIANograceNowomanhoodAhbeastlycreature

Theblotandenemyto ourgeneralname

Confusionfallmdash

CHIRON NaythenIwillstopyourmouth

Bring thou her husband

Thisisthe holewhere Aaronbidus hidehim(182‐186)

ItisunclearwhatChirondoestostophermouthbutwhat isclear isthattheactionmust

occupyafullhalfverselineWhetherhemerelycovershermouthwithhishandkissesher

orviolatesherinsomemoregraphicwayisunclearItiseven possiblethatChironcutsout

hertongue inthisspaceconsideringLavinia neverspeaksagainafterthismomentDuring

thisexchangein a1988RoyalShakespeareCompanyproduction ldquoChironadditionallyput

hishandunderLaviniarsquosdressandseemedtoliftherupwithhishand inside her tossing

herupanddowntotheaccompanimentofherfrightfulcriesrdquo(Aebischer42)Surelythere

area numberofoptionsforthe actoranddirectortochoosefrombutthefirstviolation

occurshereTheaudienceiswitnesstothistraumaticeventat themomentitbegins

Alongwithmostscholarswhobetween thetwowomenfocuson LaviniaBethany

PackardcallsLaviniarsquosrapeldquoanutterlydebilitatingeventrdquoandcites HeatherDubrowwho

ldquoassociates earlymodernanxietyabouttheexternalreplication ofonemistakewith

originalsinrdquo(281284)EssentiallyPackard arguesthatthe repetitionofrapenarratives

gives evidencethat theldquooriginalsinrdquoisLaviniarsquosrapeInstead Tamorathoughshehas

beencharacterizedas avillain hasindisputablyexperiencedlife‐alteringtraumasaswell

andtheldquooriginalsinsrdquo oftheplay arethe war beforethe play hasbegunandthemurderof

TamorarsquossonAlarbusTheplay is sofilledwith violenceas topresentawaronstage

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger26

Characters areviciouslymurdered executed tortureddismemberedcannibalizedand

rapedmdashallofwhicharetheugly crimesofwarFurthermoreLaviniarsquosrapeand the

repetition ofrape narratives areless pervasive thantherepetitionof dismemberment

(Lavinia and TituslosetheirhandsandQuintusandMartiuslosetheirheads)whichisfirst

seen inthesacrificeof Tamorarsquoseldestson AlarbusInAct1Scene 1 LuciustakesAlarbus

toldquohewhislimbstilltheybeclean consumedrdquodespite Tamorarsquospleasformercy

(Shakespeare11132) InTamorarsquos firstmonologueShakespeare givestheaudiencea

momentinwhichtheymayempathizewithherThis empathyiscutshortinthe removalof

AlarbusfromthestageBoththe audience andTamoralosetheeffect ofwitnessing

Alarbusrsquosdeathandthedistance fromtheactualeventlimits theaudiencersquosparticipation

andrelation toit

Itispossibletoargue thatAlarbusrsquosdismemberment wouldhavebeentoodifficult

tostage Iquestionthis positionthoughbecausein Titus Andronicus Shakespearealready

stagesmanyactsofviolencethat wouldseemimpossibletostagemdashTitusrsquoshandloppedoff

Chironand Demetriusrsquos throatsslitLaviniasanstongueandhandsnottomentionthe

manytimesthroughout hisbodyofworkwhereseeminglyun‐stageableeventsare

realizedmdashGloucesterrsquosblindingAntonyrsquosdisembowelmentAntigonusrsquosdeathbybear

(King Lear Antony and Cleopatra Winterrsquos Tale)Thisdoesnotseemtobeacaseof

theatricalpracticality Shakespeare removes Alarbusforthedramaticpurposeofremoving

hisdeathfromthegazeoftheaudienceinordertolessen its empathyforhimwhichin

turnreducesempathyforhismother

WithinthefirstsceneoftheplayTamorahasalreadyseenher countrydefeated

beentaken captivebytheenemy andhadhersontakenfromher tobekilledWhenshe

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger27

plotsherrevengeonTitusshevowsldquoIrsquollfindadaytomassacrethemallAndrazetheir

factionand their familyThecruelfather and histraitorous sonsTowhomIsuedformy

dearsonrsquoslifeAndmakethemknowwhatlsquotistoletaqueen Kneelinthestreetsandbeg

forgracein vainrdquo(Shakespeare11455‐460)Thislinedirectedas an aside toeither

Saturninusortheaudienceclarifiesthatboththeevents ofbeing takenas a prisonerof

warandlosingherson areequally profoundforherShehighlightsldquoqueenrdquoasanindication

ofhowdeeplyhumiliatedsheis andsohervengeance throughouttheplayisas much

motivatedbyherowncaptureas itisbyhersonrsquosmurderTamoraisavictimofbothof

theseeventsandyetbecausethe war occurred offstage before theeventsof theplaythe

audience is tooremovedtoexperiencethesame amountofempathyas itexperienceswhen

itwitnessesLaviniarsquostraumaFurthermorewhereShakespearecouldhaveallowedthe

audience to seeAlarbusrsquosmutilationonstage andallowedthemtoexperienceTamorarsquos

horroralongsideherhedistances theeventby removing Alarbus

Thecruxof Caruthrsquostheoryis the damagedonebyahiddenunspokentraumaand

thehealingthatoccurswhenatraumaissharedLaviniarsquos violationthatoccursonstageis

nothidden theaudiencebearswitnesstoitCaruthrepeatedly referstothehealingsalveof

beingheardofclaimingtheldquounclaimedexperiencerdquoas a ldquobearing witnessrdquototheevent

ThedifferencebetweenLavinia andTamorarsquostraumasarethat the audiencehas borne

witnessto LaviniawhereasTamorarsquospain remainsinteriorand hiddenInfactthefurther

theaudienceisremovedfromthe eventthelessempathytheyfeel Theaudiencemayfeel

someempathyatthemomentthat Alarbusiscarriedawaybutwithoutbeingwitnessed

theevent is quicklyforgottenTamorarsquoscaptureand experience ofwarisutterlyremoved

fromtheaudience andhardlyenterstheaudiencersquosconsciousnessTamoraisleftto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger28

processtheseevents alonehence therepetitionofTamorarsquostraumasthroughoutthe

playmdashviolencewardismembermentFromeachactofviolenceor revenge isthevoiceofa

womancryingoutinpainThecyclecontinues Tamorarsquosdevastationfromthewarand

deathofhersonisexperienced in isolationwhichlimitsthe audiencersquossympathyandthis

lackofawitnesscausesthepain tofesterandeventuallymanifest inviolencemakingher a

villain Theaudience willthen inevitablyfeelevenlesssympathyforherandthecycle

continues to repeat itselfTamora isone exampleofaShakespearean villainshowingjust

howdevastatinganddestructive aforceunwitnessed traumaisintheworldand how

necessaryitistoshare onersquossuffering

Actorsprovideunique perspectivetotheanalysisofShakespeareancharactersKaty

StephenswhoplayedTamorainthe 2013RoyalShakespeare Companyproductionof Titus

Andronicus saysin an interviewldquoTheaudiencehateme ObviouslyIdonrsquot think Tamorarsquos

abaddiemdashI canrsquotafford tothink shersquosabaddiemdashbuttheaudienceshatehertherersquosno

doubtaboutthatImeantheyrsquoreso closetohissingme itrsquos unbelievableAudiencesloveto

hateandtherersquosalotof funtobehadinthatregardrdquoIn Enter the Body Women and

Representation on Shakespearersquos StageCarolChillingtonRutterinsists theaudiencenot

forgetthatliving bodiesareplayingthesefictionalcharacters Physicalizing thecharacter

motivating thechoicesofthecharactersandbreathinglifeintoacharactertomakeit

compellingforanaudiencerequiresgetting into themind ofthecharacteras a realperson

AsthephysicalembodimentofTamoraKaty Stephensfeelscompelledtofindempathyfor

herrecognizingherinexcusable behaviorasthe productofpainIsit possibleforthe

audience to feelsuchempathyaswell

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger29

Aebischerraises anadditionalimportantpointabout Titus Andronicus in

performanceByonlyreadingthe textLavinia isdistanced fromtheaudiencebecauseof

herabsenceoflanguageA reader mighteasilyforgetthatshe ispresentThisiswhy

proximity inperformanceissovitalAebischerwrites

Astheoff‐stagerapeacquiresa centralimportanceandsymbolicpresencethe

elisionof the rape inthe play‐text andthesubsequenttextual silence oftherape

victimismadeupforinperformancebythe actorhellipinthetheatre themutilated

rapevictim isinsistently kept beforetheaudiencersquoseyesfor sixscenesTheactorrsquos

body represents theabsenceofwordsWatching Titus Andronicus thereforemeans

watchingLavinia(26)

Aebischerrsquosobservationhighlightshowfundamentallydifferent anaudiencersquosexperienceis

whenwatchingaproductionasopposedtoreadingthescriptThisproximity theoryis far

weakerlookingat thetextaloneonlyperformancerendersShakespearersquosdeviceof

distancefullyeffective

InoneofShakespearersquos earliestplaysherelies heavilyupon allusionandtradition

tosupplementhis theatricalchoicesHoweverwhereShakespearersquossourcesidentifythe

archetypes thatTamora andLaviniaoccupyin theirstoriesofPhilomelActaeonVirginia

andthemyriadotherhistoricalandclassicalreferencesShakespeareusesthey allfailto

humanizethesefemalecharacters Using allusionShakespearecleverlysetsTamoraand

Laviniaonagrandstagetobevillainandvictimbutinhistextprovidestheaudience hints

ofTamorarsquos motivation andrealhumannature thatareabsent in anyofhersource

materialShakespeare alsoguidestheaudience intheirfeelingsforthe characters by

strategicallylocating thecharactersrsquotraumaticexperiencesAsStephenspoints out

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger30

audienceslovetohate Shakespearegivestheaudience a villaintohisswithout

compromisinghis insightintotruehumannatureTamorabecomes afullyrealized

character andmanages toalsoelicitutterhatredfromtheaudiencepartlybecausesheis

shownincontrasttoLaviniawhosewoundsareopen for theaudiencetodespair over

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger31

Act3

OneManTwoFathersPsychologicalTraumaandtheSistersof King Lear

PerhapsthemostundervaluedofShakespearersquosldquoevilrdquowomenGonerilandReganthe

eldestdaughtersinShakespearersquos King Learseemtorepelscholarlyrespectand analysis

Inathoroughinvestigation into thewomenof King Learthemostcompellinginsightinto

Goneriland ReganrsquoscharacterscomesfromDouglasHParkerwhoinonelineofhisarticle

ldquoTheThirdSuitorin King Lear ActIScene1rdquoimpliesthat Goneriland Reganrsquosldquoevilrdquo

personalitiesare inheritedfromtheir fatherwhenhesaysldquoProperlyunderstoodLearrsquos

scheminginthisscenedemonstrateshowGonerilandRegancome bytheirown scheming

quitehonestlyItisnot hardtosee thatthey areindeedLearrsquosdaughtersoncewe

understandthecunningthatLear manifests inthisopeningscenerdquo(140)Unfortunately

theanalysis endshere Parkermentionsthesistersonce again agreeingwiththescholarly

consensusthatldquoGonerilandRegan areuntrustworthyingeneral and insensitiveto human

needs and feelingsrdquo(144)Iftheresearchweretobebelieved GonerilandReganare

presumablyfrombirthscheminggreedy violentand wickedwomenwaitingforthe

perfectmomenttoturn ontheir elderlyfatherThenotableexceptiontothisruleisTina

Packer whowillbediscussedshortly

Thecomparisonsbetweenldquogoodrdquo andldquoevilrdquowomenareindisputablewhenlooking

attheactionsofLearrsquosthreedaughtersIntheplotoftheplayCordeliareturnstothe

countryfrom whichshehasbeenbanishedto forgiveandsavethe fatherthatforsookher

whileGonerilandRegan abandon theirfather to awildheathin themiddleofaviolent

stormthenbeginarampageoftortureadulteryandmurderleavingstrewna pathof

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger32

mutilatedanddeadbodiesincludingtheirownCordeliaisthe goodmartyrarchetypein

LearandGoneriland Reganbotharethe villainarchetypeAgain scholarshipispractically

unanimousinthisbasicunderstandingSuchcomparisons asLagrettaTallentLenkerrsquosin

herbook Fathers and Daughters in Shakespeare and Shaw expresslydrawonthe

martyrvillainarchetypescalling Cordeliaasacrificeoffered uponbehalfofherfatherrsquos

salvationandenlightenmentwhile GonerilandReganldquodevourthe kingdomrdquomdashGoneriland

ReganthelionsCordeliathelamb(5692)Howeverthesesimplistic readingsdepend

whollyonthecharactersintheir finalincarnationsand ignore thelifetimebeforetheplay

beginsand howthesewomenbecamethepeopletheyare byAct5 whentheircapacities

foreitherunimaginableevilor transcendent goodhave beenrevealed

TinaPackerinher2015studywhichfocusesonShakespearersquos womenasks an

importantquestionabouttheplayInherchapteron King Learshewrites

Thethreedaughtersof LearareaconundrumWhydotwoofthem becomesocruel

andonesoforgivingWhydoGonerilandRegancommitactsofviolenceupon

otherswhereas Cordeliareturnstorescueherfatherand then sharehisfateDid

theyhavedifferentmothersWere theybroughtupindifferent timesIsitjustthe

genesMotherNaturegavethemOrdidLear treatthem verydifferentlyasthey

weregrowingup(240)

Packerposesthesequestionsbutneverattemptstoanswerthem Herquestioningprocess

isexactlythe processanactormustgothroughwhileminingthe text becauseShakespeare

trulyleaves thesequestionsunansweredInan interview theactors Melinda Pfundstein

SarenNofs‐SnyderandKellyRogerswhoplayedGonerilRegan and Cordeliain the2015

productionof King Lear attheUtahShakespeareFestivalwereabletotellmethe

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger33

particularbackstorythattheydevelopedasa castNofs‐Snyder describestheprocessof

backstorydevelopment forShakespearersquosplaysbyexplaining thatbecausethereisno

explicit textualinformationgiventhegroupofactorsmustimaginewhatmighthave

occurredbeforethe actionofthe playPfundsteinandNofs‐Snyderagreed thatplayinga

character requiresseeingheras a roundedpersonand ignoring stereotypesthatalready

existaboutthecharacterNofs‐Snyderinsistedthatldquoany actor cannotdislikeacharacter

theyplayrdquoandpointedoutthat ldquonobodysetsouttosaylsquotoday Irsquomgoingtobeavillainrsquordquo

meaningthatRegancertainlydoesnrsquotseeherselfasavillain soNofs‐Snyderastheactor

playinghermustfindthemotivationsforher actions and why shemustfeelher actions are

justifiedPfundsteinalsonoted the importanceofbuildingbackstory supportedbythetext

andincludedthatinherpreparationtoplayGonerilshe hadtoldquoignoreeveryonethatsays

shersquoslsquoevilrsquordquoandinsteadfocus onthetext withoutpreconceivedbeliefsaboutthecharacter

Thisparticularcastimaginesthat Learwasmarriedina politicalmarriage that

resultedin thebirthsofGoneril and Regan Theirmother died presumablyinchildbirth

withRegan Learlater married a womanwhomhetrulylovedand thismarriageresulted in

CordeliarsquosbirthCordeliarsquosmothermusthavealsodiedbecause sheis nevermentioned

anditiseasytoassumeshealsodiedinchildbirthwithCordeliaLearwasbythetime

Cordeliawasbornanolderand moremature fatherand hadan addedemotional

attachment toherbecauseoftheconnectionto hisbelovedwife The result of this

backstory asRogersputsitis ldquoOnemanTwo differentfathersrdquo

BeforeImoveonImustclarify thatthisisonly oneofmany possibleinterpretations

ofthesesistersrsquobackstories andsurelymanycastshave arrived atdifferentconclusions

Thisexampleshouldnotbetaken asmyconclusiveinterpretationof King Learrsquos womenrsquos

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger34

livesbeforetheplayItismerelyan example oftheendresultofacastrsquoslongprocessof

textualanalysisanddiscussion

Manyofthesedetailsareimpossibletoprove andLCKnights would probably

rejectsuchinventions However theconclusionofthisbackstorycameafteraperiodof

mining the text grounding the actors in Shakespearersquos text firstandforemostandonly

afterusing theircollaborative imaginationsto fillinthemissing piecesStanislavkiexplains

thenecessityofthisprocesswhichmustrelyontheactorsrsquoimaginationsgleaning what

theycan fromthetext andthenlogicallyexpandingandfilling inwhatever gapsremainby

writingldquothepurposeofanalysisshouldbetostudyindetail andpreparegiven

circumstances foraplayorpartso thatthroughthemlateroninthecreativeprocessthe

actorrsquosemotionswillinstinctively besincere andhisfeelings truetoliferdquo(9)Considering

Shakespearewrotehis playstobeperformed (albeitfarbefore Stanislavkihaddeveloped

hisactingprocess)mdashandconsideringthediscussionwehavealready hadaboutthevalidity

oftreating Shakespearersquoscharactersasldquorealrdquopeoplemdashacademics shouldassumethesame

freedomtominethe textfor informationthatactorshavefrom their earlydaysoftraining

JudgingbythelanguageinthetextGoneriland Reganhavesufferedtheemotional

childhoodtraumaofbeingblatantlydisregardedin favor oftheir youngestsister InAct1

Scene1Learconductsaldquolovecontestrdquoinwhichheaskshisdaughterstoeachproclaim

theirloveforhiminordertodividethekingdomamongthem GonerilandReganrespond

inlengthyandoverwroughtproclamationsoftheirlovewhileCordeliarefusesto

participate andinturn isrejected byLearand exiled Atthe beginning ofthesceneLear

callsCordelialdquoOurjoyAlthoughourlastrdquomdashldquolastrdquoreferringtobirthordermdashandtellsKent

ldquoIlovedhermostrdquo(82‐82123) ShortlyaftertheKingofFranceone ofthesuitorsto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger35

CordeliaasksLearwhyhehasdisinheritedherstunned becauseofLearrsquospast praiseof his

youngestdaughterldquoShewhoeven butnowwasyourbestobject Theargumentofyour

praisebalm ofyourageThebestthedearestrdquo(215‐217)Francersquos linesshowthatLear

often andopenlytells otherpeoplehowmuchmorehefavorsCordeliaAllofthese

statements aremade notonlyin frontofGonerilandReganbut infrontofsomekindof

publicassemblyaswellThepublicdescriptorsofCordeliaas Learrsquos mostlovedchild

indicatesthatthisisnot thefirst timeanyof thecharacters haveheardthatLear favors

CordeliaGoneriland Reganhavebeenraisedknowing thatthey werenotasvaluedastheir

youngestsisterandCordeliahasbeen raised knowing thatshe was themostvaluedand

themostlovedFurthermoreit is notmerely suspicionorLearrsquosactionsthatshow

favoritism Goneriland Reganhavesufferedthehumiliationof their fatherproclaiminghis

favoritisminpublicIfnothing elsethisdifferencemust dictateaverydifferent

relationshipbetween LearandGonerilandRegan andLearandCordelia

AttheendofAct1Scene1CordeliasuspectingGoneriland Reganrsquosfalse

proclamationsoflovespeaksharshlytohersistersassheexitsShesaysldquoIknowyouwhat

youareAndlikeasisterammostloathtocallYourfaults astheyarenamedrdquo(271‐273)

IfCordeliawereanoutsideobjectiveobserverthislinemightbeusedtosupport the

popularopinionthat Goneriland Reganhavealwaysbeenldquoevilrdquo Howeverbecauseofthe

difference inLearrsquostreatment and upbringing ofthethreesistersthislinemoreclearly

defineshowhisrelationshipswithhisdaughtersdifferthanprovidesareliablereadingof

Goneriland Regan Cordeliajudges theirlackof authenticityfromthe perspectiveofa

daughterbutGonerilandRegan haveactedas subjectstotheir kingTheirresponsesinthe

ldquolovecontestrdquowhichareassuredlyoverwroughtandexaggerated in theirproclamations

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger36

reflect their obedience totheirkingWhenLearpresentshisplanldquoTellmemydaughters‐‐

Sincenowwewilldivestusboth ofruleInterestofterritorycaresofstate‐‐Whichof

youshallwe saydothloveusmostrdquoGonerilspeaksintheinterestofherfamilyrsquos elevation

ofwealthandposition amoveofpoliticalsecurity(1148‐51)WhensherespondsldquoSirI

loveyoumorethanwordcanwieldthematterDearerthaneyesightspaceand liberty

Beyondwhatcanbevaluedrich orrarehelliprdquosheisattemptingto winthechallengeherking

haspresentedasanynoblewith unstablepoliticalstandingwoulddo(1155‐57)Reganrsquos

response is equallyformalandobedienttoLearrsquosrequestldquoIn mytrueheartIfind

[Goneril]namesmyverydeedofloveOnlyshecomestooshortthatIprofessMyselfan

enemyto allotherjoyshelliprdquo(1170‐73)Trulybothoftheseresponses donotsoundlike

lovingdaughtersaffectionatelyaddressinga fatherhowevertheysoundexactlylikeloyal

subjectsvyingforpoliticalposition andattempting notto displease a king Of course

ReganrsquosresponsetoCordeliarsquosrebukesisldquoPrescribenot usourdutyrdquo becausesheknows

thatCordeliaisignorantofthe dutiesrequired byasubject whileldquodutyrdquoisthedriving force

inhers and Gonerilrsquosrelationshipwiththeirfather(11278) Cordeliarsquosfaultin refusingto

playLearrsquos ldquolovecontestrdquoandrespondingldquoNothingrdquorevealsthatshe seeshim asafather

unlikehersisterswhoseehimas a king(1187)Their responsesin thislovecontest

furtherreinforcewhat wasalreadyapparentinLearrsquosstatementsaboutCordeliahehas

onlybeenalovingfathertoone of hisdaughtersGoneriland Regan musthaveessentially

beenraised seeingtheiryoungest sisterreceivethelove andattentionofafatherfromthe

manthattheyonlyknewas theirrulerandking

Morethan mereneglectthetextimpliesthat Goneriland Regan havesufferedreal

verbalabusefromLearDuringLearrsquostimelivingatGonerilrsquos estateas isthearrangement

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger37

attheendofAct1Scene1Goneril approachesLearaboutthe conductofLearrsquosretinue

ShedescribesthesituationasldquoHeredoyoukeepahundredknightsandsquiresMenso

disorderedsodebauchedandboldThatthisourcourtinfectedwiththeirmanners

ShowslikeariotousinnEpicurismandlustMakesitmorelike atavernor abrothel

Thanagracedpalacerdquo(14232‐237)Making someadjustmentto thisarrangementseems

likearationalrequestandGoneril approachesLearinthe spiritofcooperationShesaysldquoI

hadthoughtbymaking thiswell knownuntoyouTohavefounda saferedressrdquohopingto

democraticallycometoareformationof thecompanyrsquosbehavior (14195‐196) Lear

ignoresher complaintandalong withhisFoolrebuffseachattempt atreconciliation

Eventually afterLear hasrepeatedlyignoredhercomplaintsGonerilsuggeststhat he

dismissaportionofhistrainIt is afterthissuggestionthatLearverballyexplodesAmong

otherinsultsheinvokesthegodsto punishGonerilldquoHearNaturehellipIntoherwombconvey

sterilityDryupinhertheorgansofincreaseAndfromher derogatebodyneverspring

AbabetohonourherIfshemustteemCreateherchildofspleenthatitmayliveAndbe

athwartdisnatured tormentto herrdquo(14267 270‐275) Hisreaction issoextremeandso

suddenand soconsistentwithhis previousreactionto Cordeliarsquosact ofdisobediencethat

itisunlikely thatthis typeofverbalabusehasneveroccurredbeforeInfactGonerilrsquostotal

lackofresponsemdashtheabsenceofa reactionmdashimpliesthat sheis notsurprisedby Learrsquos

vitriolicoutburstinfactshe mayevenbenumbtoitUnlike CordeliawhofeltLearrsquoswrath

forthefirsttimeinAct 1Scene1Gonerilhasclearlybeen thevictimofLearrsquoswrathbefore

WhenLear bringshisentireretinuetoGloucesterrsquoshomewhere ReganisstayingRegan

defendshersisterrsquoscharacter citingherldquodutyrdquoandldquoobligationrdquoagainreinforcingthatthe

natureofthesetwosistersrsquorelationshipwiththeirfather is notfilial butpolitical(22329

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger38

331)Learcontinues to berateGonerilandReganfearsldquoSoyou willwishonmewhenthe

rashmoodisonrdquo(22358)Herparanoiathatsheisabouttoalsobeattackedprovides

furtherevidencethatLearrsquosldquomoodsrdquohaveledtotheverbalabuseofhiselderdaughtersin

thepast

Learrsquosoutburstactsas aturningpointintheactionoftheplayandthe fatesofthe

characters Goneriland Reganrsquoschildhoodabuseandneglecthit abreakingpointintheface

ofthispublicverbalabusemdashaturningpointbetweenreasonable subduedbehaviorand the

downward spiralofviolencethat followsTheparticularchoice ofcursesthatLearwishes

uponGonerilmdashsterility andstillbornordeformedchildrenmdashareparticularlyviciouswhen

oneconsidersthatGonerildoes notinfacthaveanychildrenInaplayaboutparentsand

childrenthesetwochildlessmarriages(GonerilandAlbanyandReganand Cornwall)are

significant Children wouldsurelybedesirableevenifonlyforpoliticalreasons andthere

isnever any indication thatthe marriageshad occurredsorecentlythattheywouldnotyet

haveconceivednor isthereanyindicationthat eitherwomanispregnantduring the

courseoftheplayThis begsthequestion offertilityWhy do GonerilandAlbanyhaveno

childrenThenaturalassumption isthatthey areunabletohavechildrenorhavehad

childrenwho havedied Astheir fatherandkingLearwouldundoubtedlybeawareofany

ofthese issuesmakinghiscurseofsterility andstillbirthparticularlycruelmdashcrueland

painfulenoughtoincite theanger thathasbeenbrewing within GonerilandReganfor

manyyears

InAct1Scene1 when Learrenouncesandcompletelydisinherits Cordelia the

audience witnesses thedefiningtraumaticmomentinthis young womanrsquoslife The

surroundingcharacterswhowitnesstheeventactassurrogateaudience members

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger39

informingtheaudience howitshouldunderstandthe eventmdashshockingandunjusttothe

innocentCordeliaKentaloyal followerofLearinterruptsLearrsquostiradeagainst Cordeliato

pleadldquoReservethystateAndin thybestconsideration checkThis hideousrashness

AnswermylifemyjudgementThyyoungest daughterdoesnotlovetheeleast Norare

thoseempty‐hearted whoselowsoundsReverbnohollownessrdquo(150‐155)Sofirmishe

inhisstancethatKent accepts banishmentas wellratherthan steppingasidefrom

CordeliarsquosdefenseHoweverin Act1Scene4andinAct2Scene2 whenLear curses

Goneriland Regan foraskinghimto controlhisretinuein theirhomesneitherKentnor

anyother witnesscomestotheirdefenseEachofthese events isacaseofverbalassault

fromafathertohisadultdaughterThedifferencebetweenthe event inAct1Scene1 and

thefollowing twoscenesisthat Cordeliais experiencingthis abusefor thefirsttimein

frontof the audience sharingwith theminherpainandcallingonthemforcompassion

whereasGonerilandReganhaveexperienced thisabusemanytimes inthepast Their

definingtraumashavealreadylongbeenprocessedaway fromthe audienceand unlike

Cordeliatheyhavelost theirchancetohavetheirtrauma beseen and heardThe audience

seesCordeliarsquosfirsttraumaandit seesGonerilandReganrsquoslasthavingreceived theirland

andpoliticalpowertheyfinally revoltagainsttheirfather throwinghimoutintothestorm

andrefusingtobeabusedagain

Thevillains of King Lear experience thesame cycleoftraumathatTamoradoesin

Titus AndronicusAbandoningLeartotheheath subjectinghimtotheelements and

ignoringGloucesterrsquospleastogrant himsanctuaryare repetitionsoftheabuseandneglect

thatGoneril andRegan sufferedthroughouttheirlivesaimedagainsttheverymanwho

abusedand neglectedthemOnce againhere areShakespearersquosvillainsprocessingtheir

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger40

paininisolationWithoutawitnessaftersimmeringbeneaththesurfacefor solongthis

painemergesin escalating violenceanddestruction

Shakespearecontinues tocraft thewaythesecharactersexperience theirtraumas

fromthebeginning totheendof theplaycontinuingtomoldhisarchetypestoinfluence

theaudiencersquosresponseInAct 5Scene3theplayrsquosfinalscenebothGoneriland Reganare

broughtontostagedeadmdashGoneril havingpoisonedRegan andthen killedherselfmdashandthe

characters onstagemdashKentEdmund AlbanyandEdgarmdashmuseovertheirfatefulendInhis

dyingmomentsEdmundrealizesthewickednessofhis waysandattemptstoundoGoneril

Reganand hisworstdeedyetthe ordertohangCordelia Too lateLearenterscarrying

CordeliarsquosdeadbodyIntheFoliostagedirectionsGonerilandReganrsquosbodiesare removed

immediatelybeforeLearentersIt readsldquoGonerillandRegans bodiesbroughtoutEnter

LearwithCordelia inhisarmsrdquoThisstagedirection isShakespearersquos finalgreat contrastof

thesisters Theaudienceiseven furtherseparated from GonerilandReganrsquostraumasand

thepossibilityof feelinganyempathyforthembytheirdeadbodiesbeingremovedto

centertheaudiencersquosfocusonCordeliaShakespearegrants his audiencetheircatharsisin

trulyoneofthemostheartbreakingscenes in allofliterature anddramabymakingthem

witnesstothemartyrrsquos deathandhelpingthemignorethe villainsentirelybyremoving

themfromthestage

Allthreeofthesesistersarevictims ofgreatwrongdoing Miningthe textobjectively

allowsthereadertoseethatthereisnothinginnatelydifferentintheirmoralcharacters

Goneriland Reganwerenot born evilgreedy orconnivingalthoughtheyhavecertainly

becomethesethingsbytheendoftheplayEachdaughterisa productofherupbringing

Theoffstage abuseoftheelder sistershascreatedthemonstersthey becomeproviding

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger41

another exampleofmoderntrauma theoryrsquosclaimthatsuffering leftinisolationisdoomed

torepeatitselfIftheaudiencewas madefullyaware ofthe sistersrsquopastabuseitmightstill

empathize withthemeven withoutexcusing theirbehaviorin thelatterhalf oftheplay

Shakespeareuntangles whatcould becomecomplicatedfeelingsfortheaudience by

guiding itin whotosympathize withandwho toblamenotbymakinganyonecharacter

lesshumanorlessfullyrealized thananother butbylocating Cordeliarsquosdefining traumas

onstagefor theaudiencetowitness andbylocatingGoneriland Reganrsquos traumasoffstage

farbeforetheactionoftheplaybeginsHealsocreatesafar moreimpactfulcathartic

experiencefortheaudienceinhisfinalscenebybuildingthe audiencersquosempathyfor

Cordeliafromthebeginning

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger42

Act4

WhatrsquosDone Can BeUndoneLadyMacbethrsquosTransformation from Villainto Victim

LadyMacbethmightbethemostfamousofShakespearersquosevilwomenHerfierce

ambitionandcunningthatpersuadeshermorallyconflictedhusbandtomurderhisking in

ordertosecurethecrownalong withthesheerpopularityoftheplayitselfhas secured

LadyMacbethasoneofthemost iconicevilwomeninWesterncultureShealsooccupiesa

very interestingplace amongstShakespearersquoswomenmdashsheexistsin botharchetypesas

thevillainatthebeginningof theplayand the martyrbythe end Macbeth maynothave

multiplecharacterstocomparethesearchetypesbutLadyMacbethoffersyetanother

perspectiveforthetheorypresentedin thisthesisbecauseshe transformsthroughoutthe

playfromanunsympatheticvillaintoasympatheticvictimAt thebeginningof theplay

shehasalreadyexperiencedadefining traumaticeventthatis distancedfromtheaudience

andat theendsheexperiences asecondtraumaticeventwhich theaudience is witnessto

Becauseofthissecond eventtheaudience isabletoempathize withherinawayithas

beenunabletowithShakespearersquos otherevilwomen

EarlyintheplayLadyMacbeth referstoherownchildwhenit ismadeexplicitlyclear

thatthecouplehasnochildren at thetimethe actionof theplaybeginsThisindicatesthat

LadyMacbethrsquosdefiningtraumatic eventwhich occurredfarbeforetheplaybeginsisthe

lossofachildWhileconvincing MacbethtomurderthekingshesaysldquoIhavegivensuck

andknow Howtender lsquotistolove thebabethatmilksmerdquo(1754‐55)Thetopicisraised

andthenpassedoverquicklybutthetopicofchildrenarises laterintheplayafter

MacbethhasbecomekingThereasonMacbethfearsBanquoisbecauseBanquohas

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger43

childrenand hehasnonehimselfleavinghim withoutan heir HesoliloquizesldquoldquoProphet‐

likeTheyhailrsquodhimfatherto alineofkingsUponmyhead theyplacrsquodafruitless

crownAndputabarrenscepter inmygripeThenceto bewrenchrsquodwithanunlineal

handNosonofmine succeedingrdquo (3158‐63)Shakespearemakes thischildlessmarriage

andreign a pivotalplotpointclearlytelling theaudience thatthismarriagehasproduced

nolivingchildrenFurtherevidence thatchildrenandfertilityaresensitivesubjectsfor

LadyMacbethisherinvocationtoevilspiritsaskingthatthey giveherresolve tofollow

throughwithhermurderousplan ShepleadsldquoUnsexmehererdquoandldquoCometomywomanrsquos

breastsAndtakemymilkforgallrdquo(154147‐48)Knowingthatshehaslostachild

earlierinherlifeandhasfailedtoproduceanyotherchildrengives theselinesnew

meaningByldquounsex[ing]rdquoherself orremovingherwomanhoodand askingthat hermilkbe

changedto ldquogallrdquotherebyremovingthecapacitytofeedandnourish achilditis asif the

centralambitionofherlifechanges inamomentmdashsheis replacingthe desire for achild

withadesireforthecrownHere thenature ofLadyMacbethrsquos suffering repeats itself in

thenature ofhervillainyThepainoflosing a childandbeingunabletoproduceanheir

experiencedandprocessedoffstage before theplaybegins reemerges inthis invocationof

evilspirits specificallyaskingthemtoremovemotherhoodfromherandreplaceitwith

evilSheis anothervillainwho isaslavetothesamecycleasthevillainspreviously

outlinedin thispaper Shakespearepredatestraumatheoryinshowingthedangerof

unwitnessedtraumaFurthermore becausetheactualeventofthechildrsquosdeathissofar

removedfromtheactionoftheplayandbecauseanyallusions totheeventaresoopaque

theaudienceisneverabletotrulyempathize withLady Macbeth andunderstandthe

complexmotivationsbehindher actions

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger44

ActorsplayingLadyMacbethhave arrivedatthisconclusionas wellCarolChillington

Ruttercompilesacollectionofinterviewsfrom professionalactorsplayingShakespearersquos

womenin Clamorous Voices Shakespearersquos Women TodaySheincludesaninterviewwith

actorSineadCusackwhoplayed LadyMacbethfortheRoyalShakespeareCompanyin

1986Cusackdescribes theprocess ofdevelopingLadyMacbethforthestage

LadyMacbethsayslsquoIhavegiven suckhelliprsquoSowhereisthatbaby What happenedtotheir

childIrsquomnotcertainwhoasked thequestionfirstorwhether weallhadtheidea

simultaneouslybutasweexploreditinrehearsalwedecided thatthe Macbethshad

hadachildandthat thechildhaddiedThelinecanbe interpreteddifferentlybutthatrsquos

theinterpretationwe choseand astheidea grewitseemedto haveabeautifullogichellip

Thatsortof lossthelossofachildissohugesomassivehellip (56)

AlthoughCusackadmitsthatotheractorsmightcometoadifferentinterpretationofthe

linethis interpretation iswhathas alwaysmadethemostsense tomeespeciallylookingat

theothertextthatsupportssuch aconclusionIexperiencedalmostexactlythesame

revelatory momentwhenIplayed LadyMacbethatUCDavisin2009whenmy director

fellowactorandIagreedthatour Macbethsmusthavelostachild

InLadyMacbethrsquosfinal sceneoftheplaytheaudiencewitnessesher second

definingtraumaticeventmdashthelossofhersanityInAct5Scene1the famoussleep‐

walkingsceneLadyMacbethspeakswithoutrealizingthatherGentlewomanandDoctor

arepresent shecontinuouslyattemptstowashblood offofher handsandseemstohave

noconcept oftimeorspacespeakingtopeoplewhoarenotpresentandabouteventsthat

haveoccurredatvarious pastpointsoftheplayWhensheweeps andherDoctorsays

ldquoWhatasigh isthere Theheart issorelychargrsquodrdquotheactor isdirected toplaythescene

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger45

withthedepthofgriefthatmustmotivatethisline from theDoctorTheaudiencemust

followtheDoctorrsquosleadandfeel empathyandcompassionforthischaracterdespiteher

pastactionsandwhen thathappensLadyMacbethcompletesher transformationintothe

victimarchetype Anaudiencecannotcheer forLadyMacbethrsquosdeaththewayitcheersfor

Tamorarsquos

Directors andperformerscanmake choicesthatmakethistransformation even

clearerIntheclassic1976RoyalShakespeareCompanyperformanceof Macbeth Judi

DenchrsquosAct5performanceisnotablyunderstatedShehas tears inher eyesthroughoutthe

sceneandsheplaysthescenelargelystationarythecontinuouswipingofherhandsthe

onlyaction fromthetimesheenterstoherexitShewhimpers herlineslikeafrightened

childmdashanenormousdifferencefrom theaggressivecharacteratthebeginningof theplay

Inanother productionthe2012 experimentalconcept‐piece MedeaMacbethCinderella at

theOregon Shakespeare Festivalanall‐malecastpresentedatraditional Macbeth

ChristopherLiamMooreplayingLadyMacbethwascostumedthroughouttheproduction

inavibrantgreengownandalong auburnwigInthetradition ofElizabethantheatre

MooreplayedLadyMacbethasawomanwith costumehairandmakeupsupportinghis

portrayalofacharacterofadifferentgenderInAct5Scene 1Mooreentered as Lady

Macbethbutwithoutanyofthe costuminghairormakeupHe enteredinblackpantsand

ablackt‐shirtwithhis naturalshorthairandwithoutany makeupForthefirsttimethe

audience saw hisrealfaceasamanThischoicecreateda shockingrawness and

vulnerabilitymirroring thenakednessofLadyMacbethrsquosmental andpsychologicalstate

Theperformancewas haunting and heartbreakingtowitnessPerformanceslikethese

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger46

emphasize thedevastationandtraumaofinsanity aswell asthepossibilitiesofhowan

audiencecanconnect toacharacteritmayhavepreviouslyhated

ToapproachLadyMacbethfromadifferentperspective IwilladdressLCKnightsrsquos

argumentonceagainKnightschoseLadyMacbethrsquosexact scenariomdashherimplied

childrenmdashashistitleexampleofanteriorspeculationHismainargumentis that the

scholarmustremainentirelywithin the textand avoid imagining any outside

circumstancesforShakespearersquos charactersmdashessentiallyShakespeare ispoetry and

literature firstInanefforttooperatewithinhisgroundrulesIargue thatthetextalone

revealsthe sameconclusionsthatcanbemadebypsychoanalysis or othermethodsmore

commontoperformersIwillperformadeeplinguistic analysis ofthetextof the playto

provethat even withinonlythe textitselfLadyMacbethbeginsthe playasan

unsympatheticvillain andendstheplayasasympathetic victim

Act1Scene7isafittingrepresentative forLadyMacbethrsquoscharacter atthebeginning

oftheplay Thisscene portraysLadyMacbethconvincing MacbethtomurderDuncanand

sheemployspersuasive techniquesmdashrhetoricmdashtogreateffectShe askselevenquestions

throughoutthescenesomeofwhicharerhetoricalwith noanswer andsomeofwhichshe

answersherselfAfter Macbethexpressesreluctancetogothroughwiththeirplantokill

Duncansheresponds withldquoWasthehopedrunkWhereinyoudressrsquodyourselfHathit

sleptsincerdquobothofwhichare rhetoricalquestionspersonifying ambitionor ldquohoperdquo

(1735‐36)Shecontinueswith ldquoAndwakesitnowtolookso greenandpaleAtwhatit

didsofreelyFromthistimeSuchIaccountthyloverdquoinwhichsheanswersherown

questionbyinsulting hismasculinity androleashusbandequating hislackofambition

withlackoflove(1737‐39)At no pointafter Macbethrsquosfirstadmissionthathehas

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger47

decided againstregicidedoesLadyMacbethallowhimtoanswer herquestionsThis

passagebecomesabrutalinterrogationwithnopausetoallowhimtoanswershownin the

enjambment ontheverselines

Andwakesitnowtolooksogreenandpale

Atwhat itdidsofreely Fromthistime

SuchIaccountthyloveArtthouafeard

Tobethesameinthine ownactandvalour

Asthouart indesireWouldstthouhavethat

Whichthouesteemrsquosttheornamentoflife

Andliveacowardinthineownesteem

LettinglsquoIdarenotrsquowaituponlsquoIwouldrsquo

Likethepoorcatirsquothe adage(1737‐44)

Noend‐stoppunctuationoccursuntilMacbethinterruptsherwithldquoPritheepeacerdquoaplea

tostoptheinterrogation(1745) Thisoverloadingofquestionsischaracteristicofa

generalprofusionofwordsthroughoutLadyMacbethrsquosdialogue Afterherattack of

questionssheusesan especially shockingandvividdescription topersuadeMacbethwith

herowncommitmentto theirplan byreferring totheirdeceasedchildldquoIhavegiven suck

andknow Howtender lsquotistolovethebabethatmilksmeIwouldwhileitwassmilingin

myfaceHavepluckrsquodmynipplefromhisbonelessgumsAnddashrsquodthebrains outhadI

soswornasyouHavedonetothisrdquo(1754‐59)Thisdisturbingimageismadeall themore

disturbing byhowsheplaysonMacbethrsquosexpectationsShereminds himofapositive

memorythesweetmomentswiththeirbabyandexactly halfway throughtheline

contrasts thisimage withthehorrifyingimageofbreaking the babyrsquosskullTheserhetorical

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger48

strategiesthatLadyMacbethusestopersuadeMacbethhavethe veryclearimpactof

overwhelminghimThroughoutLadyMacbethrsquosrhetoricalattack Macbethrsquoslinesbecome

progressivelyshorterAtthebeginningofthesceneMacbethhastheupperhandmdashiftheir

exchange werea sports matchthescorewouldbeLadyMacbethwithonelineand

Macbethwithfivelines butas LadyMacbethgoesonhisresponsesshrink tothreelines

andthenonelineShehasbeatenhimintolinguisticsubmissionThefollowingchartshows

theprogressionofMacbethrsquoslines

ldquoWewillproceednofurtherin ldquoPritheepeace ldquoIfweshouldfailrdquo(1759)

this Idaredoall thatmaybecomeaman

business Whodaresdomoreisnonerdquo

HehathhonourrsquodmeoflateandI (1745‐47)

havebought

Goldenopinionsfromallsortsof

people

Whichwouldbewornnowin

theirnewestgloss

Notcastasidesosoonrdquo(1731‐

34)

Althoughatthispoint inthesceneLadyMacbethhasnotfully convincedMacbethto

killDuncanshehasbrokenhimoftheconvictionhefeltat thebeginningandshe isin a

positionto makehernextrhetoricalmoveShedescribes herplanforthemurderwitha

shamelessabundanceofalliteration

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger49

ldquoWhenDuncanisasleepmdash

Wheretotherathershallhisdayrsquoshardjourney

Soundlyinvitehimmdashhistwochamberlains

WillI with wine and wassailsoconvince

Thatmemorythe warderofthebrain

Shallbeafumeandthe receiptof reason

A limbeckonly when in swinish sleep

Their drenchednatures lieasina death

WhatcannotyouandI performupon

The unguarded Duncan Whatnotputupon

His spongyofficerswhoshallbearthe guilt

Of our greatquellrdquo(1762‐73)

Theabovecolor‐codingofthepassageshowsthevarietyof alliteration thatLady Macbeth

usesEachofthesesoundsespeciallytheuseofldquowrdquosnotonlyinthe wordsthat beginwith

ldquowrdquobutinthewordsthatinclude aldquowrdquoasthesecondsoundlikeldquoswinishrdquoandldquoquellrdquo

forcethemouthtoslowandpronouncethewordscarefullyandarticulatelyTheeffectof

thisslowing isaseductivedrawlas LadyMacbethpuncheseach soundandsavorsthe

wordsinhermouthJudgingbyMacbethrsquoslanguagefor therest ofthescenethisseduction

hassucceededinpersuadinghim HeagreestokillDuncanldquoIamsettledandbendup

Eachcorporalagentto thisterriblefeatAwayandmockthe timewithfairestshow

Falseface musthidewhatfalse heartdoth knowrdquo(1780‐83)Thisfinallinearticulatesthe

truthaboutLadyMacbethrsquoscharactermdashhecallsheraldquofalsefacerdquoandldquofalseheartrdquoInthis

onephrase Macbethrevealswhat makesLady Macbethsounsympathetictothe audience

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger50

Sheismanipulativeandconnivingandherhighlyeffectivebutalsohighlycontrived

rhetoric isartificialand completelyinauthentic aqualityaccentedby thefact that she

speaksentirelyin versewhich furthergivestheimpressionof stylizedwellthought‐out

dialogueVerse isfar easierto manipulateandshapethan proseandsoundsfar less

naturalIn thebeginningofthe playsheissoartificialin herwordplaythatshe appearsas

anemptyshellmdashallwordsandno substance

WhenLadyMacbethreturnsinAct5afteran entire actoffstageshehasbecome

unhingedanddriven madbyherguiltThescene isdoublyeffective inthewaythat

Shakespeareusesit tobreakexpectationsofthecharacterdrawingfromforeshadowing

frompreviousscenesoftheplayIt willthereforebenecessarytodrawonotherscenesin

whichLadyMacbethappearsinordertolaythegroundworkfor herreappearancein Act5

InAct2Scene2the audience sees MacbethandLadyMacbethimmediatelyafter

DuncanhasbeenmurderedMacbeth isplaguedbyguiltimmediatelyandShakespearehas

alreadyprovidedmany instances whereitappearsthatMacbethisheadingtoward

madnessmdashhehasalreadyseenthe ldquodaggerof themindrdquoandinthisscenehehearsthecries

oftheprincesandguardsechoinhismindas wellasanunknownvoicewhichrepeats

ldquoSleepnomoreMacbethdoesmurderSleeprdquo (21382234‐35)ThereforewhenLady

MacbethtellshimldquoThesedeedsmustnotbethoughtAfterthesewayssoitwillmakeus

madrdquotheobviousassumptionis thatMacbethwillbedrivenmad by dwellingonthese

thoughts(2232‐33)Thefurther theplayprogressesthough themorethatLady Macbeth

andMacbethswitchtheirroles andbythetimethatLadyMacbethreappearsinAct5

Macbethhashardened towardhis manyviolentdeedsandLadyMacbethistheonewho

hasgonemadAnother instanceof foreshadowingisLady Macbethrsquosdirectionto Macbeth

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger51

ldquoGogetsomewaterandwashthisfilthywitnessfromyourhandrdquoechoedinherhand‐

washingpantomimeat thebeginningofAct5narratedbytheGentlewomanwhosaysldquoIt

isanaccustomrsquodactionwithhertoseemthuswashingherhandsIhaveknownher

continue in thisaquarterofan hourrdquo(2245‐565125‐29) Shakespearecreates akindof

Sisyphean punishmentforLady Macbetheternallydoomedtorepeatthe sameaction with

whichshecommandedMacbethcausedbythesameguilt whichsheinsultedasa signof

weakness FinallyLady Macbethinanotherattempttodissuade Macbethfromhisguilt

insistsldquoThesleeping andthedeadarebutaspicturesrdquo (2253)LadyMacbethrsquosfinallines

inAct 5 are a repetition ofldquoTobedtobedtobedrdquo(5164) Sheleaves thestagerepeating

thisinstructiontoherselfand shortlyafterthrowsherselffromthetowertoher deathThe

lineldquoTobedrdquotiesldquothe sleepingrdquo andldquothedeadrdquofromherearlierlineShehasactually

predictedherinsomnia ifonanunconsciouslevelsheequatessleep withdeathInorder to

finallyfind peacefulsleepsuicide becomesheronlyoptionTheeffectofthesemany

instancesof foreshadowing inthe sceneafter Duncanrsquosdeathis atragicironyLady

Macbethhaspredicted herownfateand insultedthevery guilt shecomestobeplaguedby

makingthefateitselfall themorepainfultowatch

Inherfinal sceneLady Macbethrsquoslanguage alsobecomesfarlessarticulateUnlike

allofherpreviousscenesin Act5Scene1LadyMacbethspeaksinprosewhichsounds

naturalandunrehearsedTherhythmofthelanguagebecomeschoppywithextremely

shortsentencesand frequentpunctuationespeciallydashes

LADYMACBETHOutdamnedspotoutIsaymdashOnetwowhythenlsquotistimeto

Ganger52

dorsquotmdashHellismurkymdashFiemyLordfie a soldierandafeardmdashWhatneedwefear

whoknowsitwhen nonecancall ourpowertoaccomptmdashYetwho wouldhave

thoughttheoldmantohavehad so muchbloodinhim(5133‐38)

Thedashes separatelinesinwhich LadyMacbethrecallspreviouseventsfromthe playand

linesinwhichsherevealstheeffectsofthoseeventsupon her psycheItisaninterplay

betweentheexteriorandtheinteriorThefirstldquoOutdamned spotoutIsayrdquoisaninterior

momentinwhichinthepresentshedesperatelypleaswiththebloodthatonly stainsher

handsinhermindThesecondldquoOnetwowhythenlsquotistime todorsquotrdquoisexterior relatingto

theagreedtimeMacbethwastokillDuncanldquoIgoandit is donethebellinvites merdquo

(2162)ThethirdldquoHell ismurkyrdquoisperhapsthemostambiguouslineofthesceneandis

againinteriorInhermadness shemaybeseeingthroughthe veil into ldquohellrdquotheafterlife

andwitnessingthemanysoulsthatshehashadahandinkillingsomanythatitisdifficult

todecipheramongthemallmakingthevision ldquomurkyrdquoTheline mayalsorefertoLady

Macbethseeing intoldquohellrdquoitselfwitnessingevilspiritsor devilssomanytorturingherthat

againldquohellismurkyrdquoThemurkinessmayevenrefertoherinabilitytotellthedifference

betweenwhatisrealandwhatis inherown mindmadnessbecomingherldquohellrdquoThedepth

ofhertorturehowevertheline isinterpreted cannotbeemphasizedenoughHerline

continues inthispatternmdashinteriorexteriorinteriorexterior Theexposureof herinner

lifeherpsycheremovestheartificethatshe coversherself withatthebeginningofthe

playShebecomesvulnerableand exposedtotheaudiencemdashforthe firsttimewe seeheras

shetrulyismdashmakingheraccessibleandsympathetic

Another effectofLady Macbethrsquosmadnessis a reversion toasecondchildhoodIn

Act5LadyMacbethhaslostall ofherformercontrolThemanyquestionsand demands

Ganger53

shemakes ofMacbethinAct 1Scene7have realauthoritybut inAct5Scene1whenshe

demandsldquoOutdamnedspotrdquoshesoundshelplessmdashthebloodisnrsquot evenphysicallyonher

handsand therefore it willneverbewashedawayShedemands something that cannever

beachievedandherpowerhasbeencompletelyremovedlikethe tantrumofapetulant

childInlamentingherownpowerlessnessshesaysldquoAlltheperfumesofArabiawillnot

sweeten thislittlehandrdquoreferringtowhatusedtobeaninstrument ofmurderasaldquolittle

handrdquoHer madnesshasinsome waysrestoredher innocenceasachildwhohasdone

something badwithoutrealizing theconsequencesFurtherevidenceofthisreturnto

childhoodcomesintheforeshadowingof the lineldquoTistheeye ofchildhoodthatfearsa

painteddevilrdquo(2254‐55)ByAct5 LadyMacbeth does fear adevilwhichweknowfrom

herlineldquoHellismurkyrdquoOnceagainLadyMacbethhastragicallyforeshadowed herown

fateareturntochildhoodandfear ofeternaldamnation whichinhersanityshebelieved

shehadgrownoutoffearing

LadyMacbethrsquosownlanguageisnottheonly aspectofthe scenethat affectsthe

audiencersquos response tohercharacterthecharacterssheshares hersceneswithimpactthe

audiencersquos response as wellInAct 5Scene1 theDoctorandGentlewomannarrateallof

LadyMacbethrsquosaction

DOCTORHowcameshebythatlight

GENTLEWOMANWhyitstoodbyhershehaslightbyhercontinuallylsquotisher

command

DOCTORYouseeher eyesareopen

GENTLEWOMANAybuttheirsenseareshut

DOCTORWhatisitshe doesnowLookhowsherubsherhands

Ganger54

GENTLEWOMANItisanaccustomrsquod actionwithherto seemthus washingher

hands

Ihaveknownhercontinueinthis aquarterofanhour(5120‐29)

Especiallyinthecontextofperformancethe actorplayingLadyMacbethlosesmostofher

freedomconstrainedbytheactionsdictatedbytheDoctorand GentlewomanAudience

memberswillneverseeAct5Scene1fromdifferentproductions thatvarywildlyfromone

anothermdashcertain aspectsofthescenewillnecessarilyalwaysbe thesameAlternatively

there iscompletefreedomofstaginginAct1 Scene7or anyofLadyMacbethrsquosother

previousscenesbecausenocharactersnarrateanyofheractionsandShakespearehas

providednostagedirectionsThe Doctorand Gentlewomanrsquosdescriptions of heractions

removeall physicalagencyfromLadyMacbethherpowerlessness victimizingher

TheDoctorandGentlewomanalsoactasthe audience to LadyMacbethrsquosactions

andthereforebecomealensthroughwhichtheaudience canwatchthescene Theyoften

even explicitlytelltheaudience how torespondTheDoctorrsquos linesldquoObserveherstand

closerdquoldquoDoyoumarkthatrdquoandldquoEvensordquodirect theaudience tostayfocused onLady

Macbethbuildingtheirsuspenseinthescene (511939 61) WhenLadyMacbethends

oneofherlineswithldquoOhohohrdquotheDoctorrsquosandGentlewomanrsquosrespondinglinesdictate

thatLadyMacbethmustbesobbing throughtheentirefollowing exchange

DOCTORWhatasighis there Theheartissorelychargrsquod

GENTLEWOMANIwouldnothavesuchaheartinmybosomforthedignityof the

wholebody

DOCTORWellwellwell

GENTLEWOMANPrayGoditbesir

Ganger55

DOCTORThisdisease isbeyond mypracticeyetIhave knownthosewhichhave

walkrsquodintheirsleepwhohavediedholilyintheirbeds(5150‐57)

LadyMacbethrsquoscryofldquoOhOhOhrdquoismetwithincrediblesympathyfromherwitnesses

TheyrefertwicetoLadyMacbethrsquosldquoheartrdquomeaningthatLadyMacbethrsquoscriesmustbethe

soundsofdeepdespaircomingfromtheheart TheGentlewoman expresses empathyfor

LadyMacbethessentiallysaying thatshewouldnotwant tobe queen ifitmeant

experiencingsomuchguiltandsadnessTheyprayforherand they expressadesire for

hertobesavedindeathevenafterhearingherconfessherguiltTheDoctorand

Gentlewomanactas fellowaudiencemembersleadingtheaudienceto respondtoLady

Macbethin a similarly sympatheticway

Theroleof theaudienceitselfisvitaltoLadyMacbethrsquostransformationfromvillain

tovictimThroughoutherearly scenesLady Macbethwelcomestheaudience intothe

actionoftheplayAtthe beginning ofAct2Scene2Lady Macbethentersspeakingdirectly

totheaudience

ldquoThatwhich hathmadethem drunkhathmademebold

Whathathquenchedthemhath givenmefiremdashHarkmdashPeace

Itwastheowlthatshriekrsquodthefatalbellman

Whichgivesthesternrsquostgood‐nightHeisaboutit

Thedoorsareopen andthesurfeitedgrooms

DomocktheirchargewithsnoresIhavedruggrsquodtheirpossets

ThatDeathandNature docontend aboutthem

Whethertheyliveor diehellip

AlackIamafraidthey haveawakrsquod

Ganger56

Andlsquotis not donemdashthrsquoattemptand notthedeed

ConfoundsusmdashHarkmdashIlaidtheirdaggersready

HecouldnotmisslsquoemmdashHadhenotresembled

MyfatherashesleptIhaddonersquotmdashMyhusbandrdquo(221‐13)

Firstshemakestheaudience complicitinDuncanrsquosmurderbydescribing theactionsthat

arecurrently occurring offstage Enteringinanalcohol‐inducedmaniasheputsthe

audience in aposition inwhich theyareunabletostoptheactionsofMacbethShealso

makesseveralexcuses andjustifications forherownactionsin thispassageShehears a

soundthatshebelievesisascreamtowhichsheinstinctively and fearfully responds

ldquoHarkmdashPeacerdquoandthenimmediatelyjustifiesherreactionbyexplainingtothe audience

thatallsheheardwas anowlThis impliesthat shewouldnot havehadthesamereactionif

thesoundhadin factbeen a screamasifsucharesponsewouldbecowardlyandshe

wouldnevershowsuchweakness Shegoesontodescribethepreparations that havebeen

madeforthe murderandthenexplainswhysheisnotcommitting themurderherselfShe

saysthat theking resembledher fatherbutthisisathinlyveiledjustificationforthefact

thatsheisnotbraveenoughto murderthekingAllofthisamountstoLadyMacbeth

manipulatingtheaudienceinthe samewayshehasmanipulatedMacbethHoweverunlike

Macbeththeaudience seesthrough LadyMacbethrsquosartificeLadyMacbethactsvillainously

towardnot onlyherfellowcharactersbutalsotowardthe audienceitselfIn Act 5Scene1

LadyMacbethhasbecomesolost inherownmindthatshehasno awarenessof the

audiencersquospresenceShehasengagedsooftenwiththe audience beforethispoint(she

speaksdirectlytotheaudience in allbutonescene inwhichsheappearsbeforeAct5)that

hertotalignoranceoftheirpresenceisstrikingThisputstheaudienceintothepositionof

Ganger57

voyeursafarmoreuncomfortablepositionBeingas vulnerable assheisinAct5Lady

Macbethbecomesthevictimofadeepviolation ofprivacy bybeingwatchedwithouther

consent There isaclearcontrast betweenthe waythatLadyMacbethinteractswiththe

audience at thebeginningand atthe endoftheplayandthis contrast reversesherroles

fromvillain atthebeginningtovictimattheend

Thisrhetoricalanalysis leads toasimpleconclusionforwhat makesLadyMacbeth

differentbetweenthebeginningandendof MacbethHertransformationfromunrepentant

torepentantmarksher transformationfromvillaintovictimInherfinallineLady

MacbethsaysldquoTobedtobedtherersquosknockingatthegateComecomecomecomegive

meyourhandWhatrsquosdonecannot beundoneTobedtobedto bedrdquo(5162‐65)The

hurriedrepetitionofldquoTobedrdquoandldquoComerdquoprovides anurgencyanddesperation toherexit

whichwerealizeshortlyafterleads tohersuicideShespeaks hermotivationmdashthecauseof

hersuicide isthefactthatldquoWhatrsquosdonecannotbeundonerdquoSheessentiallydies ofguilt

Regret and guilt are feelings that areuniversal butinLadyMacbeththeyaremagnified

whichallowsforidentification andempathyfromtheaudience The unforgiveablevillains

arethosewhodiewith noremorse butanaudiencemembercannothelpbutfeelsympathy

forawomanwhoissotorturedbyherownactionsthatshefeelsshehasnooptionother

thansuicideRealizing thatshe hasactuallykilledherselflongagoassoonasthey

murdered Duncanallowstheaudience tounderstandthepunishmentshehassufferedand

shebecomesatrulysympathetic characterUnlikethedeathof herchildwhich Lady

Macbethexperiencedalonewithnoaudience witnessthistrauma of insanityis witnessed

andempathizedbythe audience

Ganger58

LadyMacbethbyoccupyingbotharchetypes provesthat Shakespearersquosldquoevilrdquo

characters donothaveinnatelycompromisedmoralsInsteadtheir deep‐seatedsufferings

areprocessedin a way thatprovokesvillainy Thesamewoman whentheaudience

witnesseshertraumadoesnotcontinuetoact inthe sameambitiousandselfish waythat

sheacted in thebeginningoftheplaybutratherretreats intochildlikeinnocenceLady

Macbethdemonstrates howcrucial thesharingoftraumaismdashhowdramaticallyaperson

canbechangeddependingonwhethertheirpainfulexperiencesarehiddenorshared

Ganger59

Act5

FinalThoughtsandFutureResearch

Afterinvestigating Titus Andronicus King Lear and Macbethsomefinalthoughtsare

necessarytoprobetherelevance ofthistheoryEvenifitis truethat ldquoevilrdquowomen

experience a traumaoffstage intheirpastand ldquogoodrdquowomenexperienceatraumaonstage

infrontof an audience thequestionremains whetherthisobservationprovides anylarger

significant meaningI believe the theoryprovidesimportantnewinsightintoShakespeare

asaplaywright

Atthecoreofthistheoryis empathyTheaudience experiencesaldquospecialfeeling of

compassionunderstandingandcarerdquoforthosecharactersthat itwitnesses in theirtragic

moments(Eklund29)Amanufacturedempathycanmanipulatethe audience intoa

particularexperience ForexamplejustasbothTamora andLaviniaarevictimsofa

traumaticexperience theyboth dieaviolent deathonstage(Shakespeare 53)However

wherethe audienceweepsforLaviniarsquosdeath itcheers for Tamorarsquos Somemayarguethat

thisispurely becauseLaviniadoes notcommitthekindsof violentdeedsthat Tamora

commitsHowever thispresumptionrequires theaudiencetoforget Laviniarsquosinvolvement

inthegruesomekidnappingandmurderofTamorarsquossonsChiron andDemetriusTitusand

Laviniafeel thatthey arejustified inmurderingtheboysand feedingthemtoTamorain a

piebecausetheyraped andmutilatedLavinia HoweverTamoraalsofeelsjustifiedin

orderingLaviniarsquosrapeasretributionforhersonrsquosdeathOne isconsidered evilandthe

otherjustdespiteboth beingviolentdeedsinthenameofvengeance Theaudiencersquos

empathymustmanipulatehowitbecomesthe judgeandjurytothesecharactersmdashonersquos

deathelicitsdespair andtheotherrsquoscelebrationIn Titus AndronicusShakespearersquos

Ganger60

bloodiestplaytheimpactismade even greaterAsactressKatyStephenspoints outthe

audience actuallyseemedthrilled bytheanticipationofseeing hereatherchildrenBy

manipulatingabondofempathybetweenthe audience and character Shakespeare

predicts and createsthe catharsisintheplayrsquos finaleOfcoursetheaudience feels catharsis

atthedeath ofacharacterinwhomitfeelsinvestedthusLaviniais asacrificialmartyrfor

theaudiencersquostheatricalexperiencewhileTamoraisthe convictattheguillotinekilledfor

theaudiencersquosenjoymentThesamecanbesaidof King LearShakespearemanipulatesthe

audiencersquos experiences byremoving GonerilandReganrsquosbodiesandallowingCordeliarsquos

corpsetotakecenterstagewhichproducesagreatercatharsis

Shakespearersquoscharactersarewrittenas ifthey arerealpeopleandinfacttheyare

ldquorealrdquoifonlyphysicallymdashtheyare atleast embodiedbyrealpeopleHehaswrittenwicked

characters forwhomanaudience perhapsmightstillfeelsympathyByprovidingenough

cluesaboutwhathaswoundedtheseevilwomenintheirpastShakespearemaintains

three‐dimensional nuancedcharacters ratherthanuninterestingcaricatures Trained

actorsprobethetextto minecompellingandsupportedbackstories whichunlockthese

three‐dimensionalcharactersRemembering thatShakespearersquosplayswerefirstperformed

isinvaluabletothestudyofhisplaysandstudentsof Shakespeareshouldassumetherole

ofactortoadegreefeelingfree toimaginativelyfillin the gapsofhis charactersrsquo lives

Hehasalsounlockedanunderstandingof his audiencemdashthatseeingatraumatic

eventdeepensthe audiencersquosempathyforacharacterwhichpromotesgreater catharsis

andentertainmentThereforeit isnrsquotthatthe audiencecreatesldquoevilrdquocharacters inits

perception (thatisadangerousclaimsince TamorarsquosGonerilrsquosReganrsquosandLady

Macbethrsquosactionsareheinousand inexcusable)RatherShakespeareinanother displayof

Ganger61

hisunderstandingofhumannatureusesthetensionofspaceanddistancetocreate

characterstheaudience wouldempathizewith atdifferent levelsmdashvillaincharactersvery

littleandvictimcharactersverymuchEachof thesefactors contributestothetheatrical

experienceHewasinthebusinessofcreatinggoodtheatremdashthree‐dimensionalvillains

makeforbetter theatrethanflatcaricaturesandenhancingcatharsiscreatesa more

intense and therefore moreengrossingandmoreenjoyabletheatreexperience forthe

audienceFurthermoreShakespearedisplays anuncanny understandingofhowtraumatic

experiences mustbewitnessedand sharedinordertoberesolvedinstinctively

demonstratingwhathasonlyrecentlybeenputintowordsbymoderntraumascholars

Shakespearersquosdevice ofhidingeventsandexperiencesoffstage servesasareplicationof

therealworldsituationofrealpeopleneedingawitness

Thequestion ofwhethergenderplaysapartinthistheoryrequires furthercommentas

wellThere issomethingtobesaid forfemaleagencyinanyearlymodernwork Critics

oftendiscussthemartyrarchetypesasgaining agencyin their deathsCaroline Lamb

specificallypointstoLaviniarsquosagencyinherdeathIquestionwhycriticshavegivensuch

littleattentiontothevillains Thevillainarchetypesdonot gain agencyintheirdeaths

becausetheyhavedemonstratedagencyintheirlivesTamorapropelstheplotforward

morethan almostany othercharacterThesamecanbesaidofGonerilandReganand

Macbethwouldnever havemurderedthekingifnotfor LadyMacbethrsquosagency For

exampleIfeelfurther compelledtonotethecentralityof LaviniarsquosroleinPaschal

Aebischerrsquos evaluation oftheplay ShecitesldquoTitusrsquoverbal andLaviniarsquosphysical

prominencerdquoclaiming thatLaviniaisas important tothe play asTitus(37)Thisignores

Ganger62

Tamoraas thecatalyst formost oftheactionthroughoutIwouldarguethatiftherewere

anyparallelcharacter to Titusif theplaywas asmuchabout anyonecharacter asitis

aboutTitusitmustbeTamoraThe evilwomenare far from submissivetheyact ontheir

owncompulsionoftencontraryto themensurroundingthemYesthesecharactersare not

nicecharactersbuttheycertainlyhaveagencyDianeElizabethDreherdescribesthese

tragicwomenasldquo[attempting]to outdotheir menin aggressionrdquo (168)Thereseemstobe

anunconsciouscriticaltendency to wantwomentohaveagency butnottoomuchornot

asmuchasmen

EllenTerry believes thatShakespearewas essentiallya feministwhenshediscusses

thewomen fromhiscomedies

Haveyoueverthoughthowmuchwealland womenespeciallyowetoShakespearefor

hisvindicationofwomeninthesefearlesshigh‐spiritedresoluteandintelligent

heroinesDonrsquotbelievetheanti‐feminists iftheytellyouas Iwasoncetoldthat

Shakespearehadtoendowhiswomenwithvirilequalitiesbecauseinhistheatrethey

were alwaysimpersonatedbymenThismay accountfor thefrequencywithwhich

theymasqueradeasboysbutIamconvinced thatithadlittle influenceon

Shakespearersquosstudies ofwomen Theyowe farmoretotheliberalideasaboutthesex

whichwerefermenting inShakespearersquosage Theassumptionthat lsquothewomanrsquos

movementrsquo isofveryrecentdatemdashsomething peculiarlymodernmdashis notwarrantedby

historyThereis evidenceofits existence in thefifteenthcentury(81)

TocreditShakespearewithtooprogressivea viewmight beamistakebecausecertainly

notallofhisplaysportrayfullystrongand independentwomenEvenTerryadmitsthat

Helenain Allrsquos Well that Ends Well and Julia in Two Gentlemen of Verona areldquodoormatsrdquo

Ganger63

(151)Howevermost ofhiswomenareas fullydevelopedandcaredforasmostofhismen

(Ibelievethereare examplesofbothgendersthatstillprove tobefairlyshallowbutthat

mayalsobebecauseIhavenot spentenoughtimemining thosetexts)andthat is certainly

noteworthyIfweseparate thewomenintoourarchetypesShakespearedefinitelygives

evilwomen asmuchagencyandpersonalityastheirgoodcounterpartssomethingthat

evenEllen Terry neglectsInheranalysisof King LearonceagainCordeliaisthesubjectof

in‐depthanalysisandGoneriland Reganaretotallyignored(Terry153‐157)Regardlessof

hispolitical orsocialgoals(ofwhichTerryseemstobereferringwhensheclaimsthatheis

afeminist)thewomenin Titus Andronicus King Learand Macbeth areindividualsthey

arethree‐dimensionalcomplexpeoplewitha great dealof agency

Finallythereisthe issuethatmensimplyarenever victims inthesamewaythat

womenaremdashnotonlyCordeliaand LaviniabutalsomanyofShakespearersquosotherwomen

likeOpheliaJulietDesdemona Cressida and Hermione Whyaretheonlyoutrightvictims

inShakespearersquosplayswomenIs Shakespearecommentinguponwomenrsquosinherent

weaknessHisevilwomenprovecertainlynotWhythenarethe onlywomenwhoresist

victimizationtheevilonesOn onehanditmaybethatShakespeareiscriticizingstrong

womenand punishing hischaractersthatdisplayagencyHoweverthishasalreadybeen

disprovenbyhowmuchsympathyonemayfeelfortheevilwomen whenareaderoractor

realizesthedepthofsufferingtheymayhaveexperiencedthemselves Anotherpossibility

isthatShakespeareis merelyobservinga truthabouttheworldmdashstrongwomenare

vilifiedandwomenonthewhole areoftenthe victimsofabuse toadegree thathistorically

menhavenotbeen

Ganger64

There areseveraldirectionsthisresearchmightleadin thefutureOfcoursefar

morecharacterscouldbestudied thanjusttheonespresentedhereI seethesameparallel

in Romeo and JulietwhereJulietexperiences a traumaonstageandLadyCapulethas

experiencedatrauma offstagebutitwouldbeextreme to call LadyCapuletavillaininthe

samewaythatTamora orGoneril areThesamerelationshipmightbeseenbetween

Opheliaand Gertrude in HamletbutagainwhileGertrudeisvilifiedtoacertainextentshe

ishardlya paralleltoLadyMacbethUsingthetheoryofproximityandtraumabutmoving

awayfromstrict archetypeswouldmakefor a morenuancedindividualanalysisofother

Shakespeareanwomen

Anotherpossibility isthequestion ofwhether thetheory istrueofthemale

characters aswellRichardIIIEdmundandAaron arevillains who explicitlydiscusstheir

pastmistreatment asjustification fortheirwickeddeedsCouldthesamebesaidforIago

thoughenigmaticand baffling in hishatredofOthelloormen likeMacbethorAngelowho

becomevillains throughthecourseoftheplayThenthereare male characters whoarefar

moremorallyambiguouslikeShylockLeontesorOthelloall ofwhomwould makefor

fascinating studiesof traumaOf coursethefactthatmenare not victimsinthesameway

thatwomenare isanotherreason toreconsiderthecharacterarchetypespresentedhere

andinstead tostudyproximity andtraumaasanewwaytothink aboutindividual

characters inShakespearersquosplays

A finalareaofstudythatmay open evenmore insights into thetheory ofproximity

andtraumaaswellas howgender playsintothetheoryis genreSofaronlyShakespearersquos

tragedieshavebeendiscussedbutthetheorymaybesuitableforthe studyofcomediesas

Ganger65

wellSomeofShakespearersquosmost researchedandmostlovedwomencomefromhis

comediesandinterestinglymanyofthemcanfallintothe two categoriesofeither

experiencingatrauma beforetheplayhasbegunorexperiencing a traumaonstage

BeatriceandHeroin Much Ado About Nothingfalltothetwosidesofthespectrum

BeatricewasspurnedbyBenedickwithwhomshehashadarelationshipinthepast

beforetheactionoftheplaybegins HeroisspurnedbyClaudioonstagein frontofthe

audienceMorestrongcomedicfemalecharactershaveexperiencedsomekindof painful

eventbefore theplayhasbegun likeRosalindKatharinaand Helena(Midsummer)though

admittedly the event isalways lessviolentthanthoseseenin thetragediesThe definition

of trauma mayneed tobere‐assessedKatharina in The Taming of the Shrewmayhave

experiencedpaternal neglect toa similardegreeas Goneriland Reganandas a resultsheis

byfarthemostviolentofShakespearersquoscomedicwomenHowever canaromantic

rejectionabrokenheartthemost commontypeofoffstagesuffering inShakespearersquos

comediesbeclassified inthesame category as thesuffering seen in thetragediesmdashwar

rapethedeathofachildThereal comparabilityof these characters wouldneed tobe

addressedifthetheoryofproximityandtraumawasextendedto Shakespearersquos comedies

WhenHaroldBloomwrotethatShakespeare hadinventedthehumanhemeantthat

Shakespearedemonstratedanunparalleledunderstandingofhuman naturethroughthe

creationof hischaractersHoweverheseemstodisplay thisunderstanding equallyinthe

creationof hisaudienceBytheirdistancefromacharacterrsquos traumaticeventShakespeare

manipulatesanaudiencersquosempathyandemotionalinvestmentinthe livesofthecharacters

onstageAn audiencersquos reactionsto Shakespearersquosplaysarenot trulyitsownmdashtheyhave

Ganger66

beenpredeterminedbytheplaywrightHealsoappearsto beahead of his time in his

instinctive understandingof theeffectof traumauponthepsycheNotonlymighttrauma

theorybehelpfulinfuturestudies ofShakespearebutexploringShakespearemight

providefurtherinsight intoliterarytraumatheory

Ganger67

Bibliography

Aebischer Pascale Shakespearersquos Violated Bodies Stage and Screen Performance

Cambridge Cambridge UP2004Print

Anderson Thomas P Performing Early Modern Trauma from Shakespeare to Milton Aldershot

UK Ashgate 2006 E-book

Ben-Ezra Menachem ldquoTraumatic Reactions from Antiquity to the 16th Centuryrdquo Stress and

Health 27 (2011) 223-240 ASP Web 8 Jan 2015

Bloom Harold Shakespeare The Invention of the Human New York Riverhead Books 1998

Print

BraytonDanldquoAngling intheLake ofDarknessPossessionDispossession

andthe PoliticsofDiscovery in King Learrdquo ELH702(2003)399‐426 Project Muse

Web21914

Britton John ldquoAC Bradly and Those Children of Lady Macbethrdquo Shakespeare Quarterly 123

(1961) 349-351 JSTOR Web 8 Jan 2015

Brown John Russell Shakespearersquos Plays in Performance New York St Martinrsquos Press 1966

Print

Burke Kenneth Counter-Statement Berkley and Los Angeles University of California Press

1968 Print

Calef V ldquoLady Macbeth and Infanticide How Many Children Had Lady Macbeth Murderedrdquo

Journal of the American Psychoanalytic Association 172 (1969) 528-548 American

Psychological Association Web 27 Jan 2015

CaruthCathy Unclaimed Experience Trauma Narrative and HistoryBaltimore MDJohns

HopkinsUniversity Press1996Print

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger53

shemakes ofMacbethinAct 1Scene7have realauthoritybut inAct5Scene1whenshe

demandsldquoOutdamnedspotrdquoshesoundshelplessmdashthebloodisnrsquot evenphysicallyonher

handsand therefore it willneverbewashedawayShedemands something that cannever

beachievedandherpowerhasbeencompletelyremovedlikethe tantrumofapetulant

childInlamentingherownpowerlessnessshesaysldquoAlltheperfumesofArabiawillnot

sweeten thislittlehandrdquoreferringtowhatusedtobeaninstrument ofmurderasaldquolittle

handrdquoHer madnesshasinsome waysrestoredher innocenceasachildwhohasdone

something badwithoutrealizing theconsequencesFurtherevidenceofthisreturnto

childhoodcomesintheforeshadowingof the lineldquoTistheeye ofchildhoodthatfearsa

painteddevilrdquo(2254‐55)ByAct5 LadyMacbeth does fear adevilwhichweknowfrom

herlineldquoHellismurkyrdquoOnceagainLadyMacbethhastragicallyforeshadowed herown

fateareturntochildhoodandfear ofeternaldamnation whichinhersanityshebelieved

shehadgrownoutoffearing

LadyMacbethrsquosownlanguageisnottheonly aspectofthe scenethat affectsthe

audiencersquos response tohercharacterthecharacterssheshares hersceneswithimpactthe

audiencersquos response as wellInAct 5Scene1 theDoctorandGentlewomannarrateallof

LadyMacbethrsquosaction

DOCTORHowcameshebythatlight

GENTLEWOMANWhyitstoodbyhershehaslightbyhercontinuallylsquotisher

command

DOCTORYouseeher eyesareopen

GENTLEWOMANAybuttheirsenseareshut

DOCTORWhatisitshe doesnowLookhowsherubsherhands

Ganger54

GENTLEWOMANItisanaccustomrsquod actionwithherto seemthus washingher

hands

Ihaveknownhercontinueinthis aquarterofanhour(5120‐29)

Especiallyinthecontextofperformancethe actorplayingLadyMacbethlosesmostofher

freedomconstrainedbytheactionsdictatedbytheDoctorand GentlewomanAudience

memberswillneverseeAct5Scene1fromdifferentproductions thatvarywildlyfromone

anothermdashcertain aspectsofthescenewillnecessarilyalwaysbe thesameAlternatively

there iscompletefreedomofstaginginAct1 Scene7or anyofLadyMacbethrsquosother

previousscenesbecausenocharactersnarrateanyofheractionsandShakespearehas

providednostagedirectionsThe Doctorand Gentlewomanrsquosdescriptions of heractions

removeall physicalagencyfromLadyMacbethherpowerlessness victimizingher

TheDoctorandGentlewomanalsoactasthe audience to LadyMacbethrsquosactions

andthereforebecomealensthroughwhichtheaudience canwatchthescene Theyoften

even explicitlytelltheaudience how torespondTheDoctorrsquos linesldquoObserveherstand

closerdquoldquoDoyoumarkthatrdquoandldquoEvensordquodirect theaudience tostayfocused onLady

Macbethbuildingtheirsuspenseinthescene (511939 61) WhenLadyMacbethends

oneofherlineswithldquoOhohohrdquotheDoctorrsquosandGentlewomanrsquosrespondinglinesdictate

thatLadyMacbethmustbesobbing throughtheentirefollowing exchange

DOCTORWhatasighis there Theheartissorelychargrsquod

GENTLEWOMANIwouldnothavesuchaheartinmybosomforthedignityof the

wholebody

DOCTORWellwellwell

GENTLEWOMANPrayGoditbesir

Ganger55

DOCTORThisdisease isbeyond mypracticeyetIhave knownthosewhichhave

walkrsquodintheirsleepwhohavediedholilyintheirbeds(5150‐57)

LadyMacbethrsquoscryofldquoOhOhOhrdquoismetwithincrediblesympathyfromherwitnesses

TheyrefertwicetoLadyMacbethrsquosldquoheartrdquomeaningthatLadyMacbethrsquoscriesmustbethe

soundsofdeepdespaircomingfromtheheart TheGentlewoman expresses empathyfor

LadyMacbethessentiallysaying thatshewouldnotwant tobe queen ifitmeant

experiencingsomuchguiltandsadnessTheyprayforherand they expressadesire for

hertobesavedindeathevenafterhearingherconfessherguiltTheDoctorand

Gentlewomanactas fellowaudiencemembersleadingtheaudienceto respondtoLady

Macbethin a similarly sympatheticway

Theroleof theaudienceitselfisvitaltoLadyMacbethrsquostransformationfromvillain

tovictimThroughoutherearly scenesLady Macbethwelcomestheaudience intothe

actionoftheplayAtthe beginning ofAct2Scene2Lady Macbethentersspeakingdirectly

totheaudience

ldquoThatwhich hathmadethem drunkhathmademebold

Whathathquenchedthemhath givenmefiremdashHarkmdashPeace

Itwastheowlthatshriekrsquodthefatalbellman

Whichgivesthesternrsquostgood‐nightHeisaboutit

Thedoorsareopen andthesurfeitedgrooms

DomocktheirchargewithsnoresIhavedruggrsquodtheirpossets

ThatDeathandNature docontend aboutthem

Whethertheyliveor diehellip

AlackIamafraidthey haveawakrsquod

Ganger56

Andlsquotis not donemdashthrsquoattemptand notthedeed

ConfoundsusmdashHarkmdashIlaidtheirdaggersready

HecouldnotmisslsquoemmdashHadhenotresembled

MyfatherashesleptIhaddonersquotmdashMyhusbandrdquo(221‐13)

Firstshemakestheaudience complicitinDuncanrsquosmurderbydescribing theactionsthat

arecurrently occurring offstage Enteringinanalcohol‐inducedmaniasheputsthe

audience in aposition inwhich theyareunabletostoptheactionsofMacbethShealso

makesseveralexcuses andjustifications forherownactionsin thispassageShehears a

soundthatshebelievesisascreamtowhichsheinstinctively and fearfully responds

ldquoHarkmdashPeacerdquoandthenimmediatelyjustifiesherreactionbyexplainingtothe audience

thatallsheheardwas anowlThis impliesthat shewouldnot havehadthesamereactionif

thesoundhadin factbeen a screamasifsucharesponsewouldbecowardlyandshe

wouldnevershowsuchweakness Shegoesontodescribethepreparations that havebeen

madeforthe murderandthenexplainswhysheisnotcommitting themurderherselfShe

saysthat theking resembledher fatherbutthisisathinlyveiledjustificationforthefact

thatsheisnotbraveenoughto murderthekingAllofthisamountstoLadyMacbeth

manipulatingtheaudienceinthe samewayshehasmanipulatedMacbethHoweverunlike

Macbeththeaudience seesthrough LadyMacbethrsquosartificeLadyMacbethactsvillainously

towardnot onlyherfellowcharactersbutalsotowardthe audienceitselfIn Act 5Scene1

LadyMacbethhasbecomesolost inherownmindthatshehasno awarenessof the

audiencersquospresenceShehasengagedsooftenwiththe audience beforethispoint(she

speaksdirectlytotheaudience in allbutonescene inwhichsheappearsbeforeAct5)that

hertotalignoranceoftheirpresenceisstrikingThisputstheaudienceintothepositionof

Ganger57

voyeursafarmoreuncomfortablepositionBeingas vulnerable assheisinAct5Lady

Macbethbecomesthevictimofadeepviolation ofprivacy bybeingwatchedwithouther

consent There isaclearcontrast betweenthe waythatLadyMacbethinteractswiththe

audience at thebeginningand atthe endoftheplayandthis contrast reversesherroles

fromvillain atthebeginningtovictimattheend

Thisrhetoricalanalysis leads toasimpleconclusionforwhat makesLadyMacbeth

differentbetweenthebeginningandendof MacbethHertransformationfromunrepentant

torepentantmarksher transformationfromvillaintovictimInherfinallineLady

MacbethsaysldquoTobedtobedtherersquosknockingatthegateComecomecomecomegive

meyourhandWhatrsquosdonecannot beundoneTobedtobedto bedrdquo(5162‐65)The

hurriedrepetitionofldquoTobedrdquoandldquoComerdquoprovides anurgencyanddesperation toherexit

whichwerealizeshortlyafterleads tohersuicideShespeaks hermotivationmdashthecauseof

hersuicide isthefactthatldquoWhatrsquosdonecannotbeundonerdquoSheessentiallydies ofguilt

Regret and guilt are feelings that areuniversal butinLadyMacbeththeyaremagnified

whichallowsforidentification andempathyfromtheaudience The unforgiveablevillains

arethosewhodiewith noremorse butanaudiencemembercannothelpbutfeelsympathy

forawomanwhoissotorturedbyherownactionsthatshefeelsshehasnooptionother

thansuicideRealizing thatshe hasactuallykilledherselflongagoassoonasthey

murdered Duncanallowstheaudience tounderstandthepunishmentshehassufferedand

shebecomesatrulysympathetic characterUnlikethedeathof herchildwhich Lady

Macbethexperiencedalonewithnoaudience witnessthistrauma of insanityis witnessed

andempathizedbythe audience

Ganger58

LadyMacbethbyoccupyingbotharchetypes provesthat Shakespearersquosldquoevilrdquo

characters donothaveinnatelycompromisedmoralsInsteadtheir deep‐seatedsufferings

areprocessedin a way thatprovokesvillainy Thesamewoman whentheaudience

witnesseshertraumadoesnotcontinuetoact inthe sameambitiousandselfish waythat

sheacted in thebeginningoftheplaybutratherretreats intochildlikeinnocenceLady

Macbethdemonstrates howcrucial thesharingoftraumaismdashhowdramaticallyaperson

canbechangeddependingonwhethertheirpainfulexperiencesarehiddenorshared

Ganger59

Act5

FinalThoughtsandFutureResearch

Afterinvestigating Titus Andronicus King Lear and Macbethsomefinalthoughtsare

necessarytoprobetherelevance ofthistheoryEvenifitis truethat ldquoevilrdquowomen

experience a traumaoffstage intheirpastand ldquogoodrdquowomenexperienceatraumaonstage

infrontof an audience thequestionremains whetherthisobservationprovides anylarger

significant meaningI believe the theoryprovidesimportantnewinsightintoShakespeare

asaplaywright

Atthecoreofthistheoryis empathyTheaudience experiencesaldquospecialfeeling of

compassionunderstandingandcarerdquoforthosecharactersthat itwitnesses in theirtragic

moments(Eklund29)Amanufacturedempathycanmanipulatethe audience intoa

particularexperience ForexamplejustasbothTamora andLaviniaarevictimsofa

traumaticexperience theyboth dieaviolent deathonstage(Shakespeare 53)However

wherethe audienceweepsforLaviniarsquosdeath itcheers for Tamorarsquos Somemayarguethat

thisispurely becauseLaviniadoes notcommitthekindsof violentdeedsthat Tamora

commitsHowever thispresumptionrequires theaudiencetoforget Laviniarsquosinvolvement

inthegruesomekidnappingandmurderofTamorarsquossonsChiron andDemetriusTitusand

Laviniafeel thatthey arejustified inmurderingtheboysand feedingthemtoTamorain a

piebecausetheyraped andmutilatedLavinia HoweverTamoraalsofeelsjustifiedin

orderingLaviniarsquosrapeasretributionforhersonrsquosdeathOne isconsidered evilandthe

otherjustdespiteboth beingviolentdeedsinthenameofvengeance Theaudiencersquos

empathymustmanipulatehowitbecomesthe judgeandjurytothesecharactersmdashonersquos

deathelicitsdespair andtheotherrsquoscelebrationIn Titus AndronicusShakespearersquos

Ganger60

bloodiestplaytheimpactismade even greaterAsactressKatyStephenspoints outthe

audience actuallyseemedthrilled bytheanticipationofseeing hereatherchildrenBy

manipulatingabondofempathybetweenthe audience and character Shakespeare

predicts and createsthe catharsisintheplayrsquos finaleOfcoursetheaudience feels catharsis

atthedeath ofacharacterinwhomitfeelsinvestedthusLaviniais asacrificialmartyrfor

theaudiencersquostheatricalexperiencewhileTamoraisthe convictattheguillotinekilledfor

theaudiencersquosenjoymentThesamecanbesaidof King LearShakespearemanipulatesthe

audiencersquos experiences byremoving GonerilandReganrsquosbodiesandallowingCordeliarsquos

corpsetotakecenterstagewhichproducesagreatercatharsis

Shakespearersquoscharactersarewrittenas ifthey arerealpeopleandinfacttheyare

ldquorealrdquoifonlyphysicallymdashtheyare atleast embodiedbyrealpeopleHehaswrittenwicked

characters forwhomanaudience perhapsmightstillfeelsympathyByprovidingenough

cluesaboutwhathaswoundedtheseevilwomenintheirpastShakespearemaintains

three‐dimensional nuancedcharacters ratherthanuninterestingcaricatures Trained

actorsprobethetextto minecompellingandsupportedbackstories whichunlockthese

three‐dimensionalcharactersRemembering thatShakespearersquosplayswerefirstperformed

isinvaluabletothestudyofhisplaysandstudentsof Shakespeareshouldassumetherole

ofactortoadegreefeelingfree toimaginativelyfillin the gapsofhis charactersrsquo lives

Hehasalsounlockedanunderstandingof his audiencemdashthatseeingatraumatic

eventdeepensthe audiencersquosempathyforacharacterwhichpromotesgreater catharsis

andentertainmentThereforeit isnrsquotthatthe audiencecreatesldquoevilrdquocharacters inits

perception (thatisadangerousclaimsince TamorarsquosGonerilrsquosReganrsquosandLady

Macbethrsquosactionsareheinousand inexcusable)RatherShakespeareinanother displayof

Ganger61

hisunderstandingofhumannatureusesthetensionofspaceanddistancetocreate

characterstheaudience wouldempathizewith atdifferent levelsmdashvillaincharactersvery

littleandvictimcharactersverymuchEachof thesefactors contributestothetheatrical

experienceHewasinthebusinessofcreatinggoodtheatremdashthree‐dimensionalvillains

makeforbetter theatrethanflatcaricaturesandenhancingcatharsiscreatesa more

intense and therefore moreengrossingandmoreenjoyabletheatreexperience forthe

audienceFurthermoreShakespearedisplays anuncanny understandingofhowtraumatic

experiences mustbewitnessedand sharedinordertoberesolvedinstinctively

demonstratingwhathasonlyrecentlybeenputintowordsbymoderntraumascholars

Shakespearersquosdevice ofhidingeventsandexperiencesoffstage servesasareplicationof

therealworldsituationofrealpeopleneedingawitness

Thequestion ofwhethergenderplaysapartinthistheoryrequires furthercommentas

wellThere issomethingtobesaid forfemaleagencyinanyearlymodernwork Critics

oftendiscussthemartyrarchetypesasgaining agencyin their deathsCaroline Lamb

specificallypointstoLaviniarsquosagencyinherdeathIquestionwhycriticshavegivensuch

littleattentiontothevillains Thevillainarchetypesdonot gain agencyintheirdeaths

becausetheyhavedemonstratedagencyintheirlivesTamorapropelstheplotforward

morethan almostany othercharacterThesamecanbesaidofGonerilandReganand

Macbethwouldnever havemurderedthekingifnotfor LadyMacbethrsquosagency For

exampleIfeelfurther compelledtonotethecentralityof LaviniarsquosroleinPaschal

Aebischerrsquos evaluation oftheplay ShecitesldquoTitusrsquoverbal andLaviniarsquosphysical

prominencerdquoclaiming thatLaviniaisas important tothe play asTitus(37)Thisignores

Ganger62

Tamoraas thecatalyst formost oftheactionthroughoutIwouldarguethatiftherewere

anyparallelcharacter to Titusif theplaywas asmuchabout anyonecharacter asitis

aboutTitusitmustbeTamoraThe evilwomenare far from submissivetheyact ontheir

owncompulsionoftencontraryto themensurroundingthemYesthesecharactersare not

nicecharactersbuttheycertainlyhaveagencyDianeElizabethDreherdescribesthese

tragicwomenasldquo[attempting]to outdotheir menin aggressionrdquo (168)Thereseemstobe

anunconsciouscriticaltendency to wantwomentohaveagency butnottoomuchornot

asmuchasmen

EllenTerry believes thatShakespearewas essentiallya feministwhenshediscusses

thewomen fromhiscomedies

Haveyoueverthoughthowmuchwealland womenespeciallyowetoShakespearefor

hisvindicationofwomeninthesefearlesshigh‐spiritedresoluteandintelligent

heroinesDonrsquotbelievetheanti‐feminists iftheytellyouas Iwasoncetoldthat

Shakespearehadtoendowhiswomenwithvirilequalitiesbecauseinhistheatrethey

were alwaysimpersonatedbymenThismay accountfor thefrequencywithwhich

theymasqueradeasboysbutIamconvinced thatithadlittle influenceon

Shakespearersquosstudies ofwomen Theyowe farmoretotheliberalideasaboutthesex

whichwerefermenting inShakespearersquosage Theassumptionthat lsquothewomanrsquos

movementrsquo isofveryrecentdatemdashsomething peculiarlymodernmdashis notwarrantedby

historyThereis evidenceofits existence in thefifteenthcentury(81)

TocreditShakespearewithtooprogressivea viewmight beamistakebecausecertainly

notallofhisplaysportrayfullystrongand independentwomenEvenTerryadmitsthat

Helenain Allrsquos Well that Ends Well and Julia in Two Gentlemen of Verona areldquodoormatsrdquo

Ganger63

(151)Howevermost ofhiswomenareas fullydevelopedandcaredforasmostofhismen

(Ibelievethereare examplesofbothgendersthatstillprove tobefairlyshallowbutthat

mayalsobebecauseIhavenot spentenoughtimemining thosetexts)andthat is certainly

noteworthyIfweseparate thewomenintoourarchetypesShakespearedefinitelygives

evilwomen asmuchagencyandpersonalityastheirgoodcounterpartssomethingthat

evenEllen Terry neglectsInheranalysisof King LearonceagainCordeliaisthesubjectof

in‐depthanalysisandGoneriland Reganaretotallyignored(Terry153‐157)Regardlessof

hispolitical orsocialgoals(ofwhichTerryseemstobereferringwhensheclaimsthatheis

afeminist)thewomenin Titus Andronicus King Learand Macbeth areindividualsthey

arethree‐dimensionalcomplexpeoplewitha great dealof agency

Finallythereisthe issuethatmensimplyarenever victims inthesamewaythat

womenaremdashnotonlyCordeliaand LaviniabutalsomanyofShakespearersquosotherwomen

likeOpheliaJulietDesdemona Cressida and Hermione Whyaretheonlyoutrightvictims

inShakespearersquosplayswomenIs Shakespearecommentinguponwomenrsquosinherent

weaknessHisevilwomenprovecertainlynotWhythenarethe onlywomenwhoresist

victimizationtheevilonesOn onehanditmaybethatShakespeareiscriticizingstrong

womenand punishing hischaractersthatdisplayagencyHoweverthishasalreadybeen

disprovenbyhowmuchsympathyonemayfeelfortheevilwomen whenareaderoractor

realizesthedepthofsufferingtheymayhaveexperiencedthemselves Anotherpossibility

isthatShakespeareis merelyobservinga truthabouttheworldmdashstrongwomenare

vilifiedandwomenonthewhole areoftenthe victimsofabuse toadegree thathistorically

menhavenotbeen

Ganger64

There areseveraldirectionsthisresearchmightleadin thefutureOfcoursefar

morecharacterscouldbestudied thanjusttheonespresentedhereI seethesameparallel

in Romeo and JulietwhereJulietexperiences a traumaonstageandLadyCapulethas

experiencedatrauma offstagebutitwouldbeextreme to call LadyCapuletavillaininthe

samewaythatTamora orGoneril areThesamerelationshipmightbeseenbetween

Opheliaand Gertrude in HamletbutagainwhileGertrudeisvilifiedtoacertainextentshe

ishardlya paralleltoLadyMacbethUsingthetheoryofproximityandtraumabutmoving

awayfromstrict archetypeswouldmakefor a morenuancedindividualanalysisofother

Shakespeareanwomen

Anotherpossibility isthequestion ofwhether thetheory istrueofthemale

characters aswellRichardIIIEdmundandAaron arevillains who explicitlydiscusstheir

pastmistreatment asjustification fortheirwickeddeedsCouldthesamebesaidforIago

thoughenigmaticand baffling in hishatredofOthelloormen likeMacbethorAngelowho

becomevillains throughthecourseoftheplayThenthereare male characters whoarefar

moremorallyambiguouslikeShylockLeontesorOthelloall ofwhomwould makefor

fascinating studiesof traumaOf coursethefactthatmenare not victimsinthesameway

thatwomenare isanotherreason toreconsiderthecharacterarchetypespresentedhere

andinstead tostudyproximity andtraumaasanewwaytothink aboutindividual

characters inShakespearersquosplays

A finalareaofstudythatmay open evenmore insights into thetheory ofproximity

andtraumaaswellas howgender playsintothetheoryis genreSofaronlyShakespearersquos

tragedieshavebeendiscussedbutthetheorymaybesuitableforthe studyofcomediesas

Ganger65

wellSomeofShakespearersquosmost researchedandmostlovedwomencomefromhis

comediesandinterestinglymanyofthemcanfallintothe two categoriesofeither

experiencingatrauma beforetheplayhasbegunorexperiencing a traumaonstage

BeatriceandHeroin Much Ado About Nothingfalltothetwosidesofthespectrum

BeatricewasspurnedbyBenedickwithwhomshehashadarelationshipinthepast

beforetheactionoftheplaybegins HeroisspurnedbyClaudioonstagein frontofthe

audienceMorestrongcomedicfemalecharactershaveexperiencedsomekindof painful

eventbefore theplayhasbegun likeRosalindKatharinaand Helena(Midsummer)though

admittedly the event isalways lessviolentthanthoseseenin thetragediesThe definition

of trauma mayneed tobere‐assessedKatharina in The Taming of the Shrewmayhave

experiencedpaternal neglect toa similardegreeas Goneriland Reganandas a resultsheis

byfarthemostviolentofShakespearersquoscomedicwomenHowever canaromantic

rejectionabrokenheartthemost commontypeofoffstagesuffering inShakespearersquos

comediesbeclassified inthesame category as thesuffering seen in thetragediesmdashwar

rapethedeathofachildThereal comparabilityof these characters wouldneed tobe

addressedifthetheoryofproximityandtraumawasextendedto Shakespearersquos comedies

WhenHaroldBloomwrotethatShakespeare hadinventedthehumanhemeantthat

Shakespearedemonstratedanunparalleledunderstandingofhuman naturethroughthe

creationof hischaractersHoweverheseemstodisplay thisunderstanding equallyinthe

creationof hisaudienceBytheirdistancefromacharacterrsquos traumaticeventShakespeare

manipulatesanaudiencersquosempathyandemotionalinvestmentinthe livesofthecharacters

onstageAn audiencersquos reactionsto Shakespearersquosplaysarenot trulyitsownmdashtheyhave

Ganger66

beenpredeterminedbytheplaywrightHealsoappearsto beahead of his time in his

instinctive understandingof theeffectof traumauponthepsycheNotonlymighttrauma

theorybehelpfulinfuturestudies ofShakespearebutexploringShakespearemight

providefurtherinsight intoliterarytraumatheory

Ganger67

Bibliography

Aebischer Pascale Shakespearersquos Violated Bodies Stage and Screen Performance

Cambridge Cambridge UP2004Print

Anderson Thomas P Performing Early Modern Trauma from Shakespeare to Milton Aldershot

UK Ashgate 2006 E-book

Ben-Ezra Menachem ldquoTraumatic Reactions from Antiquity to the 16th Centuryrdquo Stress and

Health 27 (2011) 223-240 ASP Web 8 Jan 2015

Bloom Harold Shakespeare The Invention of the Human New York Riverhead Books 1998

Print

BraytonDanldquoAngling intheLake ofDarknessPossessionDispossession

andthe PoliticsofDiscovery in King Learrdquo ELH702(2003)399‐426 Project Muse

Web21914

Britton John ldquoAC Bradly and Those Children of Lady Macbethrdquo Shakespeare Quarterly 123

(1961) 349-351 JSTOR Web 8 Jan 2015

Brown John Russell Shakespearersquos Plays in Performance New York St Martinrsquos Press 1966

Print

Burke Kenneth Counter-Statement Berkley and Los Angeles University of California Press

1968 Print

Calef V ldquoLady Macbeth and Infanticide How Many Children Had Lady Macbeth Murderedrdquo

Journal of the American Psychoanalytic Association 172 (1969) 528-548 American

Psychological Association Web 27 Jan 2015

CaruthCathy Unclaimed Experience Trauma Narrative and HistoryBaltimore MDJohns

HopkinsUniversity Press1996Print

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger54

GENTLEWOMANItisanaccustomrsquod actionwithherto seemthus washingher

hands

Ihaveknownhercontinueinthis aquarterofanhour(5120‐29)

Especiallyinthecontextofperformancethe actorplayingLadyMacbethlosesmostofher

freedomconstrainedbytheactionsdictatedbytheDoctorand GentlewomanAudience

memberswillneverseeAct5Scene1fromdifferentproductions thatvarywildlyfromone

anothermdashcertain aspectsofthescenewillnecessarilyalwaysbe thesameAlternatively

there iscompletefreedomofstaginginAct1 Scene7or anyofLadyMacbethrsquosother

previousscenesbecausenocharactersnarrateanyofheractionsandShakespearehas

providednostagedirectionsThe Doctorand Gentlewomanrsquosdescriptions of heractions

removeall physicalagencyfromLadyMacbethherpowerlessness victimizingher

TheDoctorandGentlewomanalsoactasthe audience to LadyMacbethrsquosactions

andthereforebecomealensthroughwhichtheaudience canwatchthescene Theyoften

even explicitlytelltheaudience how torespondTheDoctorrsquos linesldquoObserveherstand

closerdquoldquoDoyoumarkthatrdquoandldquoEvensordquodirect theaudience tostayfocused onLady

Macbethbuildingtheirsuspenseinthescene (511939 61) WhenLadyMacbethends

oneofherlineswithldquoOhohohrdquotheDoctorrsquosandGentlewomanrsquosrespondinglinesdictate

thatLadyMacbethmustbesobbing throughtheentirefollowing exchange

DOCTORWhatasighis there Theheartissorelychargrsquod

GENTLEWOMANIwouldnothavesuchaheartinmybosomforthedignityof the

wholebody

DOCTORWellwellwell

GENTLEWOMANPrayGoditbesir

Ganger55

DOCTORThisdisease isbeyond mypracticeyetIhave knownthosewhichhave

walkrsquodintheirsleepwhohavediedholilyintheirbeds(5150‐57)

LadyMacbethrsquoscryofldquoOhOhOhrdquoismetwithincrediblesympathyfromherwitnesses

TheyrefertwicetoLadyMacbethrsquosldquoheartrdquomeaningthatLadyMacbethrsquoscriesmustbethe

soundsofdeepdespaircomingfromtheheart TheGentlewoman expresses empathyfor

LadyMacbethessentiallysaying thatshewouldnotwant tobe queen ifitmeant

experiencingsomuchguiltandsadnessTheyprayforherand they expressadesire for

hertobesavedindeathevenafterhearingherconfessherguiltTheDoctorand

Gentlewomanactas fellowaudiencemembersleadingtheaudienceto respondtoLady

Macbethin a similarly sympatheticway

Theroleof theaudienceitselfisvitaltoLadyMacbethrsquostransformationfromvillain

tovictimThroughoutherearly scenesLady Macbethwelcomestheaudience intothe

actionoftheplayAtthe beginning ofAct2Scene2Lady Macbethentersspeakingdirectly

totheaudience

ldquoThatwhich hathmadethem drunkhathmademebold

Whathathquenchedthemhath givenmefiremdashHarkmdashPeace

Itwastheowlthatshriekrsquodthefatalbellman

Whichgivesthesternrsquostgood‐nightHeisaboutit

Thedoorsareopen andthesurfeitedgrooms

DomocktheirchargewithsnoresIhavedruggrsquodtheirpossets

ThatDeathandNature docontend aboutthem

Whethertheyliveor diehellip

AlackIamafraidthey haveawakrsquod

Ganger56

Andlsquotis not donemdashthrsquoattemptand notthedeed

ConfoundsusmdashHarkmdashIlaidtheirdaggersready

HecouldnotmisslsquoemmdashHadhenotresembled

MyfatherashesleptIhaddonersquotmdashMyhusbandrdquo(221‐13)

Firstshemakestheaudience complicitinDuncanrsquosmurderbydescribing theactionsthat

arecurrently occurring offstage Enteringinanalcohol‐inducedmaniasheputsthe

audience in aposition inwhich theyareunabletostoptheactionsofMacbethShealso

makesseveralexcuses andjustifications forherownactionsin thispassageShehears a

soundthatshebelievesisascreamtowhichsheinstinctively and fearfully responds

ldquoHarkmdashPeacerdquoandthenimmediatelyjustifiesherreactionbyexplainingtothe audience

thatallsheheardwas anowlThis impliesthat shewouldnot havehadthesamereactionif

thesoundhadin factbeen a screamasifsucharesponsewouldbecowardlyandshe

wouldnevershowsuchweakness Shegoesontodescribethepreparations that havebeen

madeforthe murderandthenexplainswhysheisnotcommitting themurderherselfShe

saysthat theking resembledher fatherbutthisisathinlyveiledjustificationforthefact

thatsheisnotbraveenoughto murderthekingAllofthisamountstoLadyMacbeth

manipulatingtheaudienceinthe samewayshehasmanipulatedMacbethHoweverunlike

Macbeththeaudience seesthrough LadyMacbethrsquosartificeLadyMacbethactsvillainously

towardnot onlyherfellowcharactersbutalsotowardthe audienceitselfIn Act 5Scene1

LadyMacbethhasbecomesolost inherownmindthatshehasno awarenessof the

audiencersquospresenceShehasengagedsooftenwiththe audience beforethispoint(she

speaksdirectlytotheaudience in allbutonescene inwhichsheappearsbeforeAct5)that

hertotalignoranceoftheirpresenceisstrikingThisputstheaudienceintothepositionof

Ganger57

voyeursafarmoreuncomfortablepositionBeingas vulnerable assheisinAct5Lady

Macbethbecomesthevictimofadeepviolation ofprivacy bybeingwatchedwithouther

consent There isaclearcontrast betweenthe waythatLadyMacbethinteractswiththe

audience at thebeginningand atthe endoftheplayandthis contrast reversesherroles

fromvillain atthebeginningtovictimattheend

Thisrhetoricalanalysis leads toasimpleconclusionforwhat makesLadyMacbeth

differentbetweenthebeginningandendof MacbethHertransformationfromunrepentant

torepentantmarksher transformationfromvillaintovictimInherfinallineLady

MacbethsaysldquoTobedtobedtherersquosknockingatthegateComecomecomecomegive

meyourhandWhatrsquosdonecannot beundoneTobedtobedto bedrdquo(5162‐65)The

hurriedrepetitionofldquoTobedrdquoandldquoComerdquoprovides anurgencyanddesperation toherexit

whichwerealizeshortlyafterleads tohersuicideShespeaks hermotivationmdashthecauseof

hersuicide isthefactthatldquoWhatrsquosdonecannotbeundonerdquoSheessentiallydies ofguilt

Regret and guilt are feelings that areuniversal butinLadyMacbeththeyaremagnified

whichallowsforidentification andempathyfromtheaudience The unforgiveablevillains

arethosewhodiewith noremorse butanaudiencemembercannothelpbutfeelsympathy

forawomanwhoissotorturedbyherownactionsthatshefeelsshehasnooptionother

thansuicideRealizing thatshe hasactuallykilledherselflongagoassoonasthey

murdered Duncanallowstheaudience tounderstandthepunishmentshehassufferedand

shebecomesatrulysympathetic characterUnlikethedeathof herchildwhich Lady

Macbethexperiencedalonewithnoaudience witnessthistrauma of insanityis witnessed

andempathizedbythe audience

Ganger58

LadyMacbethbyoccupyingbotharchetypes provesthat Shakespearersquosldquoevilrdquo

characters donothaveinnatelycompromisedmoralsInsteadtheir deep‐seatedsufferings

areprocessedin a way thatprovokesvillainy Thesamewoman whentheaudience

witnesseshertraumadoesnotcontinuetoact inthe sameambitiousandselfish waythat

sheacted in thebeginningoftheplaybutratherretreats intochildlikeinnocenceLady

Macbethdemonstrates howcrucial thesharingoftraumaismdashhowdramaticallyaperson

canbechangeddependingonwhethertheirpainfulexperiencesarehiddenorshared

Ganger59

Act5

FinalThoughtsandFutureResearch

Afterinvestigating Titus Andronicus King Lear and Macbethsomefinalthoughtsare

necessarytoprobetherelevance ofthistheoryEvenifitis truethat ldquoevilrdquowomen

experience a traumaoffstage intheirpastand ldquogoodrdquowomenexperienceatraumaonstage

infrontof an audience thequestionremains whetherthisobservationprovides anylarger

significant meaningI believe the theoryprovidesimportantnewinsightintoShakespeare

asaplaywright

Atthecoreofthistheoryis empathyTheaudience experiencesaldquospecialfeeling of

compassionunderstandingandcarerdquoforthosecharactersthat itwitnesses in theirtragic

moments(Eklund29)Amanufacturedempathycanmanipulatethe audience intoa

particularexperience ForexamplejustasbothTamora andLaviniaarevictimsofa

traumaticexperience theyboth dieaviolent deathonstage(Shakespeare 53)However

wherethe audienceweepsforLaviniarsquosdeath itcheers for Tamorarsquos Somemayarguethat

thisispurely becauseLaviniadoes notcommitthekindsof violentdeedsthat Tamora

commitsHowever thispresumptionrequires theaudiencetoforget Laviniarsquosinvolvement

inthegruesomekidnappingandmurderofTamorarsquossonsChiron andDemetriusTitusand

Laviniafeel thatthey arejustified inmurderingtheboysand feedingthemtoTamorain a

piebecausetheyraped andmutilatedLavinia HoweverTamoraalsofeelsjustifiedin

orderingLaviniarsquosrapeasretributionforhersonrsquosdeathOne isconsidered evilandthe

otherjustdespiteboth beingviolentdeedsinthenameofvengeance Theaudiencersquos

empathymustmanipulatehowitbecomesthe judgeandjurytothesecharactersmdashonersquos

deathelicitsdespair andtheotherrsquoscelebrationIn Titus AndronicusShakespearersquos

Ganger60

bloodiestplaytheimpactismade even greaterAsactressKatyStephenspoints outthe

audience actuallyseemedthrilled bytheanticipationofseeing hereatherchildrenBy

manipulatingabondofempathybetweenthe audience and character Shakespeare

predicts and createsthe catharsisintheplayrsquos finaleOfcoursetheaudience feels catharsis

atthedeath ofacharacterinwhomitfeelsinvestedthusLaviniais asacrificialmartyrfor

theaudiencersquostheatricalexperiencewhileTamoraisthe convictattheguillotinekilledfor

theaudiencersquosenjoymentThesamecanbesaidof King LearShakespearemanipulatesthe

audiencersquos experiences byremoving GonerilandReganrsquosbodiesandallowingCordeliarsquos

corpsetotakecenterstagewhichproducesagreatercatharsis

Shakespearersquoscharactersarewrittenas ifthey arerealpeopleandinfacttheyare

ldquorealrdquoifonlyphysicallymdashtheyare atleast embodiedbyrealpeopleHehaswrittenwicked

characters forwhomanaudience perhapsmightstillfeelsympathyByprovidingenough

cluesaboutwhathaswoundedtheseevilwomenintheirpastShakespearemaintains

three‐dimensional nuancedcharacters ratherthanuninterestingcaricatures Trained

actorsprobethetextto minecompellingandsupportedbackstories whichunlockthese

three‐dimensionalcharactersRemembering thatShakespearersquosplayswerefirstperformed

isinvaluabletothestudyofhisplaysandstudentsof Shakespeareshouldassumetherole

ofactortoadegreefeelingfree toimaginativelyfillin the gapsofhis charactersrsquo lives

Hehasalsounlockedanunderstandingof his audiencemdashthatseeingatraumatic

eventdeepensthe audiencersquosempathyforacharacterwhichpromotesgreater catharsis

andentertainmentThereforeit isnrsquotthatthe audiencecreatesldquoevilrdquocharacters inits

perception (thatisadangerousclaimsince TamorarsquosGonerilrsquosReganrsquosandLady

Macbethrsquosactionsareheinousand inexcusable)RatherShakespeareinanother displayof

Ganger61

hisunderstandingofhumannatureusesthetensionofspaceanddistancetocreate

characterstheaudience wouldempathizewith atdifferent levelsmdashvillaincharactersvery

littleandvictimcharactersverymuchEachof thesefactors contributestothetheatrical

experienceHewasinthebusinessofcreatinggoodtheatremdashthree‐dimensionalvillains

makeforbetter theatrethanflatcaricaturesandenhancingcatharsiscreatesa more

intense and therefore moreengrossingandmoreenjoyabletheatreexperience forthe

audienceFurthermoreShakespearedisplays anuncanny understandingofhowtraumatic

experiences mustbewitnessedand sharedinordertoberesolvedinstinctively

demonstratingwhathasonlyrecentlybeenputintowordsbymoderntraumascholars

Shakespearersquosdevice ofhidingeventsandexperiencesoffstage servesasareplicationof

therealworldsituationofrealpeopleneedingawitness

Thequestion ofwhethergenderplaysapartinthistheoryrequires furthercommentas

wellThere issomethingtobesaid forfemaleagencyinanyearlymodernwork Critics

oftendiscussthemartyrarchetypesasgaining agencyin their deathsCaroline Lamb

specificallypointstoLaviniarsquosagencyinherdeathIquestionwhycriticshavegivensuch

littleattentiontothevillains Thevillainarchetypesdonot gain agencyintheirdeaths

becausetheyhavedemonstratedagencyintheirlivesTamorapropelstheplotforward

morethan almostany othercharacterThesamecanbesaidofGonerilandReganand

Macbethwouldnever havemurderedthekingifnotfor LadyMacbethrsquosagency For

exampleIfeelfurther compelledtonotethecentralityof LaviniarsquosroleinPaschal

Aebischerrsquos evaluation oftheplay ShecitesldquoTitusrsquoverbal andLaviniarsquosphysical

prominencerdquoclaiming thatLaviniaisas important tothe play asTitus(37)Thisignores

Ganger62

Tamoraas thecatalyst formost oftheactionthroughoutIwouldarguethatiftherewere

anyparallelcharacter to Titusif theplaywas asmuchabout anyonecharacter asitis

aboutTitusitmustbeTamoraThe evilwomenare far from submissivetheyact ontheir

owncompulsionoftencontraryto themensurroundingthemYesthesecharactersare not

nicecharactersbuttheycertainlyhaveagencyDianeElizabethDreherdescribesthese

tragicwomenasldquo[attempting]to outdotheir menin aggressionrdquo (168)Thereseemstobe

anunconsciouscriticaltendency to wantwomentohaveagency butnottoomuchornot

asmuchasmen

EllenTerry believes thatShakespearewas essentiallya feministwhenshediscusses

thewomen fromhiscomedies

Haveyoueverthoughthowmuchwealland womenespeciallyowetoShakespearefor

hisvindicationofwomeninthesefearlesshigh‐spiritedresoluteandintelligent

heroinesDonrsquotbelievetheanti‐feminists iftheytellyouas Iwasoncetoldthat

Shakespearehadtoendowhiswomenwithvirilequalitiesbecauseinhistheatrethey

were alwaysimpersonatedbymenThismay accountfor thefrequencywithwhich

theymasqueradeasboysbutIamconvinced thatithadlittle influenceon

Shakespearersquosstudies ofwomen Theyowe farmoretotheliberalideasaboutthesex

whichwerefermenting inShakespearersquosage Theassumptionthat lsquothewomanrsquos

movementrsquo isofveryrecentdatemdashsomething peculiarlymodernmdashis notwarrantedby

historyThereis evidenceofits existence in thefifteenthcentury(81)

TocreditShakespearewithtooprogressivea viewmight beamistakebecausecertainly

notallofhisplaysportrayfullystrongand independentwomenEvenTerryadmitsthat

Helenain Allrsquos Well that Ends Well and Julia in Two Gentlemen of Verona areldquodoormatsrdquo

Ganger63

(151)Howevermost ofhiswomenareas fullydevelopedandcaredforasmostofhismen

(Ibelievethereare examplesofbothgendersthatstillprove tobefairlyshallowbutthat

mayalsobebecauseIhavenot spentenoughtimemining thosetexts)andthat is certainly

noteworthyIfweseparate thewomenintoourarchetypesShakespearedefinitelygives

evilwomen asmuchagencyandpersonalityastheirgoodcounterpartssomethingthat

evenEllen Terry neglectsInheranalysisof King LearonceagainCordeliaisthesubjectof

in‐depthanalysisandGoneriland Reganaretotallyignored(Terry153‐157)Regardlessof

hispolitical orsocialgoals(ofwhichTerryseemstobereferringwhensheclaimsthatheis

afeminist)thewomenin Titus Andronicus King Learand Macbeth areindividualsthey

arethree‐dimensionalcomplexpeoplewitha great dealof agency

Finallythereisthe issuethatmensimplyarenever victims inthesamewaythat

womenaremdashnotonlyCordeliaand LaviniabutalsomanyofShakespearersquosotherwomen

likeOpheliaJulietDesdemona Cressida and Hermione Whyaretheonlyoutrightvictims

inShakespearersquosplayswomenIs Shakespearecommentinguponwomenrsquosinherent

weaknessHisevilwomenprovecertainlynotWhythenarethe onlywomenwhoresist

victimizationtheevilonesOn onehanditmaybethatShakespeareiscriticizingstrong

womenand punishing hischaractersthatdisplayagencyHoweverthishasalreadybeen

disprovenbyhowmuchsympathyonemayfeelfortheevilwomen whenareaderoractor

realizesthedepthofsufferingtheymayhaveexperiencedthemselves Anotherpossibility

isthatShakespeareis merelyobservinga truthabouttheworldmdashstrongwomenare

vilifiedandwomenonthewhole areoftenthe victimsofabuse toadegree thathistorically

menhavenotbeen

Ganger64

There areseveraldirectionsthisresearchmightleadin thefutureOfcoursefar

morecharacterscouldbestudied thanjusttheonespresentedhereI seethesameparallel

in Romeo and JulietwhereJulietexperiences a traumaonstageandLadyCapulethas

experiencedatrauma offstagebutitwouldbeextreme to call LadyCapuletavillaininthe

samewaythatTamora orGoneril areThesamerelationshipmightbeseenbetween

Opheliaand Gertrude in HamletbutagainwhileGertrudeisvilifiedtoacertainextentshe

ishardlya paralleltoLadyMacbethUsingthetheoryofproximityandtraumabutmoving

awayfromstrict archetypeswouldmakefor a morenuancedindividualanalysisofother

Shakespeareanwomen

Anotherpossibility isthequestion ofwhether thetheory istrueofthemale

characters aswellRichardIIIEdmundandAaron arevillains who explicitlydiscusstheir

pastmistreatment asjustification fortheirwickeddeedsCouldthesamebesaidforIago

thoughenigmaticand baffling in hishatredofOthelloormen likeMacbethorAngelowho

becomevillains throughthecourseoftheplayThenthereare male characters whoarefar

moremorallyambiguouslikeShylockLeontesorOthelloall ofwhomwould makefor

fascinating studiesof traumaOf coursethefactthatmenare not victimsinthesameway

thatwomenare isanotherreason toreconsiderthecharacterarchetypespresentedhere

andinstead tostudyproximity andtraumaasanewwaytothink aboutindividual

characters inShakespearersquosplays

A finalareaofstudythatmay open evenmore insights into thetheory ofproximity

andtraumaaswellas howgender playsintothetheoryis genreSofaronlyShakespearersquos

tragedieshavebeendiscussedbutthetheorymaybesuitableforthe studyofcomediesas

Ganger65

wellSomeofShakespearersquosmost researchedandmostlovedwomencomefromhis

comediesandinterestinglymanyofthemcanfallintothe two categoriesofeither

experiencingatrauma beforetheplayhasbegunorexperiencing a traumaonstage

BeatriceandHeroin Much Ado About Nothingfalltothetwosidesofthespectrum

BeatricewasspurnedbyBenedickwithwhomshehashadarelationshipinthepast

beforetheactionoftheplaybegins HeroisspurnedbyClaudioonstagein frontofthe

audienceMorestrongcomedicfemalecharactershaveexperiencedsomekindof painful

eventbefore theplayhasbegun likeRosalindKatharinaand Helena(Midsummer)though

admittedly the event isalways lessviolentthanthoseseenin thetragediesThe definition

of trauma mayneed tobere‐assessedKatharina in The Taming of the Shrewmayhave

experiencedpaternal neglect toa similardegreeas Goneriland Reganandas a resultsheis

byfarthemostviolentofShakespearersquoscomedicwomenHowever canaromantic

rejectionabrokenheartthemost commontypeofoffstagesuffering inShakespearersquos

comediesbeclassified inthesame category as thesuffering seen in thetragediesmdashwar

rapethedeathofachildThereal comparabilityof these characters wouldneed tobe

addressedifthetheoryofproximityandtraumawasextendedto Shakespearersquos comedies

WhenHaroldBloomwrotethatShakespeare hadinventedthehumanhemeantthat

Shakespearedemonstratedanunparalleledunderstandingofhuman naturethroughthe

creationof hischaractersHoweverheseemstodisplay thisunderstanding equallyinthe

creationof hisaudienceBytheirdistancefromacharacterrsquos traumaticeventShakespeare

manipulatesanaudiencersquosempathyandemotionalinvestmentinthe livesofthecharacters

onstageAn audiencersquos reactionsto Shakespearersquosplaysarenot trulyitsownmdashtheyhave

Ganger66

beenpredeterminedbytheplaywrightHealsoappearsto beahead of his time in his

instinctive understandingof theeffectof traumauponthepsycheNotonlymighttrauma

theorybehelpfulinfuturestudies ofShakespearebutexploringShakespearemight

providefurtherinsight intoliterarytraumatheory

Ganger67

Bibliography

Aebischer Pascale Shakespearersquos Violated Bodies Stage and Screen Performance

Cambridge Cambridge UP2004Print

Anderson Thomas P Performing Early Modern Trauma from Shakespeare to Milton Aldershot

UK Ashgate 2006 E-book

Ben-Ezra Menachem ldquoTraumatic Reactions from Antiquity to the 16th Centuryrdquo Stress and

Health 27 (2011) 223-240 ASP Web 8 Jan 2015

Bloom Harold Shakespeare The Invention of the Human New York Riverhead Books 1998

Print

BraytonDanldquoAngling intheLake ofDarknessPossessionDispossession

andthe PoliticsofDiscovery in King Learrdquo ELH702(2003)399‐426 Project Muse

Web21914

Britton John ldquoAC Bradly and Those Children of Lady Macbethrdquo Shakespeare Quarterly 123

(1961) 349-351 JSTOR Web 8 Jan 2015

Brown John Russell Shakespearersquos Plays in Performance New York St Martinrsquos Press 1966

Print

Burke Kenneth Counter-Statement Berkley and Los Angeles University of California Press

1968 Print

Calef V ldquoLady Macbeth and Infanticide How Many Children Had Lady Macbeth Murderedrdquo

Journal of the American Psychoanalytic Association 172 (1969) 528-548 American

Psychological Association Web 27 Jan 2015

CaruthCathy Unclaimed Experience Trauma Narrative and HistoryBaltimore MDJohns

HopkinsUniversity Press1996Print

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger55

DOCTORThisdisease isbeyond mypracticeyetIhave knownthosewhichhave

walkrsquodintheirsleepwhohavediedholilyintheirbeds(5150‐57)

LadyMacbethrsquoscryofldquoOhOhOhrdquoismetwithincrediblesympathyfromherwitnesses

TheyrefertwicetoLadyMacbethrsquosldquoheartrdquomeaningthatLadyMacbethrsquoscriesmustbethe

soundsofdeepdespaircomingfromtheheart TheGentlewoman expresses empathyfor

LadyMacbethessentiallysaying thatshewouldnotwant tobe queen ifitmeant

experiencingsomuchguiltandsadnessTheyprayforherand they expressadesire for

hertobesavedindeathevenafterhearingherconfessherguiltTheDoctorand

Gentlewomanactas fellowaudiencemembersleadingtheaudienceto respondtoLady

Macbethin a similarly sympatheticway

Theroleof theaudienceitselfisvitaltoLadyMacbethrsquostransformationfromvillain

tovictimThroughoutherearly scenesLady Macbethwelcomestheaudience intothe

actionoftheplayAtthe beginning ofAct2Scene2Lady Macbethentersspeakingdirectly

totheaudience

ldquoThatwhich hathmadethem drunkhathmademebold

Whathathquenchedthemhath givenmefiremdashHarkmdashPeace

Itwastheowlthatshriekrsquodthefatalbellman

Whichgivesthesternrsquostgood‐nightHeisaboutit

Thedoorsareopen andthesurfeitedgrooms

DomocktheirchargewithsnoresIhavedruggrsquodtheirpossets

ThatDeathandNature docontend aboutthem

Whethertheyliveor diehellip

AlackIamafraidthey haveawakrsquod

Ganger56

Andlsquotis not donemdashthrsquoattemptand notthedeed

ConfoundsusmdashHarkmdashIlaidtheirdaggersready

HecouldnotmisslsquoemmdashHadhenotresembled

MyfatherashesleptIhaddonersquotmdashMyhusbandrdquo(221‐13)

Firstshemakestheaudience complicitinDuncanrsquosmurderbydescribing theactionsthat

arecurrently occurring offstage Enteringinanalcohol‐inducedmaniasheputsthe

audience in aposition inwhich theyareunabletostoptheactionsofMacbethShealso

makesseveralexcuses andjustifications forherownactionsin thispassageShehears a

soundthatshebelievesisascreamtowhichsheinstinctively and fearfully responds

ldquoHarkmdashPeacerdquoandthenimmediatelyjustifiesherreactionbyexplainingtothe audience

thatallsheheardwas anowlThis impliesthat shewouldnot havehadthesamereactionif

thesoundhadin factbeen a screamasifsucharesponsewouldbecowardlyandshe

wouldnevershowsuchweakness Shegoesontodescribethepreparations that havebeen

madeforthe murderandthenexplainswhysheisnotcommitting themurderherselfShe

saysthat theking resembledher fatherbutthisisathinlyveiledjustificationforthefact

thatsheisnotbraveenoughto murderthekingAllofthisamountstoLadyMacbeth

manipulatingtheaudienceinthe samewayshehasmanipulatedMacbethHoweverunlike

Macbeththeaudience seesthrough LadyMacbethrsquosartificeLadyMacbethactsvillainously

towardnot onlyherfellowcharactersbutalsotowardthe audienceitselfIn Act 5Scene1

LadyMacbethhasbecomesolost inherownmindthatshehasno awarenessof the

audiencersquospresenceShehasengagedsooftenwiththe audience beforethispoint(she

speaksdirectlytotheaudience in allbutonescene inwhichsheappearsbeforeAct5)that

hertotalignoranceoftheirpresenceisstrikingThisputstheaudienceintothepositionof

Ganger57

voyeursafarmoreuncomfortablepositionBeingas vulnerable assheisinAct5Lady

Macbethbecomesthevictimofadeepviolation ofprivacy bybeingwatchedwithouther

consent There isaclearcontrast betweenthe waythatLadyMacbethinteractswiththe

audience at thebeginningand atthe endoftheplayandthis contrast reversesherroles

fromvillain atthebeginningtovictimattheend

Thisrhetoricalanalysis leads toasimpleconclusionforwhat makesLadyMacbeth

differentbetweenthebeginningandendof MacbethHertransformationfromunrepentant

torepentantmarksher transformationfromvillaintovictimInherfinallineLady

MacbethsaysldquoTobedtobedtherersquosknockingatthegateComecomecomecomegive

meyourhandWhatrsquosdonecannot beundoneTobedtobedto bedrdquo(5162‐65)The

hurriedrepetitionofldquoTobedrdquoandldquoComerdquoprovides anurgencyanddesperation toherexit

whichwerealizeshortlyafterleads tohersuicideShespeaks hermotivationmdashthecauseof

hersuicide isthefactthatldquoWhatrsquosdonecannotbeundonerdquoSheessentiallydies ofguilt

Regret and guilt are feelings that areuniversal butinLadyMacbeththeyaremagnified

whichallowsforidentification andempathyfromtheaudience The unforgiveablevillains

arethosewhodiewith noremorse butanaudiencemembercannothelpbutfeelsympathy

forawomanwhoissotorturedbyherownactionsthatshefeelsshehasnooptionother

thansuicideRealizing thatshe hasactuallykilledherselflongagoassoonasthey

murdered Duncanallowstheaudience tounderstandthepunishmentshehassufferedand

shebecomesatrulysympathetic characterUnlikethedeathof herchildwhich Lady

Macbethexperiencedalonewithnoaudience witnessthistrauma of insanityis witnessed

andempathizedbythe audience

Ganger58

LadyMacbethbyoccupyingbotharchetypes provesthat Shakespearersquosldquoevilrdquo

characters donothaveinnatelycompromisedmoralsInsteadtheir deep‐seatedsufferings

areprocessedin a way thatprovokesvillainy Thesamewoman whentheaudience

witnesseshertraumadoesnotcontinuetoact inthe sameambitiousandselfish waythat

sheacted in thebeginningoftheplaybutratherretreats intochildlikeinnocenceLady

Macbethdemonstrates howcrucial thesharingoftraumaismdashhowdramaticallyaperson

canbechangeddependingonwhethertheirpainfulexperiencesarehiddenorshared

Ganger59

Act5

FinalThoughtsandFutureResearch

Afterinvestigating Titus Andronicus King Lear and Macbethsomefinalthoughtsare

necessarytoprobetherelevance ofthistheoryEvenifitis truethat ldquoevilrdquowomen

experience a traumaoffstage intheirpastand ldquogoodrdquowomenexperienceatraumaonstage

infrontof an audience thequestionremains whetherthisobservationprovides anylarger

significant meaningI believe the theoryprovidesimportantnewinsightintoShakespeare

asaplaywright

Atthecoreofthistheoryis empathyTheaudience experiencesaldquospecialfeeling of

compassionunderstandingandcarerdquoforthosecharactersthat itwitnesses in theirtragic

moments(Eklund29)Amanufacturedempathycanmanipulatethe audience intoa

particularexperience ForexamplejustasbothTamora andLaviniaarevictimsofa

traumaticexperience theyboth dieaviolent deathonstage(Shakespeare 53)However

wherethe audienceweepsforLaviniarsquosdeath itcheers for Tamorarsquos Somemayarguethat

thisispurely becauseLaviniadoes notcommitthekindsof violentdeedsthat Tamora

commitsHowever thispresumptionrequires theaudiencetoforget Laviniarsquosinvolvement

inthegruesomekidnappingandmurderofTamorarsquossonsChiron andDemetriusTitusand

Laviniafeel thatthey arejustified inmurderingtheboysand feedingthemtoTamorain a

piebecausetheyraped andmutilatedLavinia HoweverTamoraalsofeelsjustifiedin

orderingLaviniarsquosrapeasretributionforhersonrsquosdeathOne isconsidered evilandthe

otherjustdespiteboth beingviolentdeedsinthenameofvengeance Theaudiencersquos

empathymustmanipulatehowitbecomesthe judgeandjurytothesecharactersmdashonersquos

deathelicitsdespair andtheotherrsquoscelebrationIn Titus AndronicusShakespearersquos

Ganger60

bloodiestplaytheimpactismade even greaterAsactressKatyStephenspoints outthe

audience actuallyseemedthrilled bytheanticipationofseeing hereatherchildrenBy

manipulatingabondofempathybetweenthe audience and character Shakespeare

predicts and createsthe catharsisintheplayrsquos finaleOfcoursetheaudience feels catharsis

atthedeath ofacharacterinwhomitfeelsinvestedthusLaviniais asacrificialmartyrfor

theaudiencersquostheatricalexperiencewhileTamoraisthe convictattheguillotinekilledfor

theaudiencersquosenjoymentThesamecanbesaidof King LearShakespearemanipulatesthe

audiencersquos experiences byremoving GonerilandReganrsquosbodiesandallowingCordeliarsquos

corpsetotakecenterstagewhichproducesagreatercatharsis

Shakespearersquoscharactersarewrittenas ifthey arerealpeopleandinfacttheyare

ldquorealrdquoifonlyphysicallymdashtheyare atleast embodiedbyrealpeopleHehaswrittenwicked

characters forwhomanaudience perhapsmightstillfeelsympathyByprovidingenough

cluesaboutwhathaswoundedtheseevilwomenintheirpastShakespearemaintains

three‐dimensional nuancedcharacters ratherthanuninterestingcaricatures Trained

actorsprobethetextto minecompellingandsupportedbackstories whichunlockthese

three‐dimensionalcharactersRemembering thatShakespearersquosplayswerefirstperformed

isinvaluabletothestudyofhisplaysandstudentsof Shakespeareshouldassumetherole

ofactortoadegreefeelingfree toimaginativelyfillin the gapsofhis charactersrsquo lives

Hehasalsounlockedanunderstandingof his audiencemdashthatseeingatraumatic

eventdeepensthe audiencersquosempathyforacharacterwhichpromotesgreater catharsis

andentertainmentThereforeit isnrsquotthatthe audiencecreatesldquoevilrdquocharacters inits

perception (thatisadangerousclaimsince TamorarsquosGonerilrsquosReganrsquosandLady

Macbethrsquosactionsareheinousand inexcusable)RatherShakespeareinanother displayof

Ganger61

hisunderstandingofhumannatureusesthetensionofspaceanddistancetocreate

characterstheaudience wouldempathizewith atdifferent levelsmdashvillaincharactersvery

littleandvictimcharactersverymuchEachof thesefactors contributestothetheatrical

experienceHewasinthebusinessofcreatinggoodtheatremdashthree‐dimensionalvillains

makeforbetter theatrethanflatcaricaturesandenhancingcatharsiscreatesa more

intense and therefore moreengrossingandmoreenjoyabletheatreexperience forthe

audienceFurthermoreShakespearedisplays anuncanny understandingofhowtraumatic

experiences mustbewitnessedand sharedinordertoberesolvedinstinctively

demonstratingwhathasonlyrecentlybeenputintowordsbymoderntraumascholars

Shakespearersquosdevice ofhidingeventsandexperiencesoffstage servesasareplicationof

therealworldsituationofrealpeopleneedingawitness

Thequestion ofwhethergenderplaysapartinthistheoryrequires furthercommentas

wellThere issomethingtobesaid forfemaleagencyinanyearlymodernwork Critics

oftendiscussthemartyrarchetypesasgaining agencyin their deathsCaroline Lamb

specificallypointstoLaviniarsquosagencyinherdeathIquestionwhycriticshavegivensuch

littleattentiontothevillains Thevillainarchetypesdonot gain agencyintheirdeaths

becausetheyhavedemonstratedagencyintheirlivesTamorapropelstheplotforward

morethan almostany othercharacterThesamecanbesaidofGonerilandReganand

Macbethwouldnever havemurderedthekingifnotfor LadyMacbethrsquosagency For

exampleIfeelfurther compelledtonotethecentralityof LaviniarsquosroleinPaschal

Aebischerrsquos evaluation oftheplay ShecitesldquoTitusrsquoverbal andLaviniarsquosphysical

prominencerdquoclaiming thatLaviniaisas important tothe play asTitus(37)Thisignores

Ganger62

Tamoraas thecatalyst formost oftheactionthroughoutIwouldarguethatiftherewere

anyparallelcharacter to Titusif theplaywas asmuchabout anyonecharacter asitis

aboutTitusitmustbeTamoraThe evilwomenare far from submissivetheyact ontheir

owncompulsionoftencontraryto themensurroundingthemYesthesecharactersare not

nicecharactersbuttheycertainlyhaveagencyDianeElizabethDreherdescribesthese

tragicwomenasldquo[attempting]to outdotheir menin aggressionrdquo (168)Thereseemstobe

anunconsciouscriticaltendency to wantwomentohaveagency butnottoomuchornot

asmuchasmen

EllenTerry believes thatShakespearewas essentiallya feministwhenshediscusses

thewomen fromhiscomedies

Haveyoueverthoughthowmuchwealland womenespeciallyowetoShakespearefor

hisvindicationofwomeninthesefearlesshigh‐spiritedresoluteandintelligent

heroinesDonrsquotbelievetheanti‐feminists iftheytellyouas Iwasoncetoldthat

Shakespearehadtoendowhiswomenwithvirilequalitiesbecauseinhistheatrethey

were alwaysimpersonatedbymenThismay accountfor thefrequencywithwhich

theymasqueradeasboysbutIamconvinced thatithadlittle influenceon

Shakespearersquosstudies ofwomen Theyowe farmoretotheliberalideasaboutthesex

whichwerefermenting inShakespearersquosage Theassumptionthat lsquothewomanrsquos

movementrsquo isofveryrecentdatemdashsomething peculiarlymodernmdashis notwarrantedby

historyThereis evidenceofits existence in thefifteenthcentury(81)

TocreditShakespearewithtooprogressivea viewmight beamistakebecausecertainly

notallofhisplaysportrayfullystrongand independentwomenEvenTerryadmitsthat

Helenain Allrsquos Well that Ends Well and Julia in Two Gentlemen of Verona areldquodoormatsrdquo

Ganger63

(151)Howevermost ofhiswomenareas fullydevelopedandcaredforasmostofhismen

(Ibelievethereare examplesofbothgendersthatstillprove tobefairlyshallowbutthat

mayalsobebecauseIhavenot spentenoughtimemining thosetexts)andthat is certainly

noteworthyIfweseparate thewomenintoourarchetypesShakespearedefinitelygives

evilwomen asmuchagencyandpersonalityastheirgoodcounterpartssomethingthat

evenEllen Terry neglectsInheranalysisof King LearonceagainCordeliaisthesubjectof

in‐depthanalysisandGoneriland Reganaretotallyignored(Terry153‐157)Regardlessof

hispolitical orsocialgoals(ofwhichTerryseemstobereferringwhensheclaimsthatheis

afeminist)thewomenin Titus Andronicus King Learand Macbeth areindividualsthey

arethree‐dimensionalcomplexpeoplewitha great dealof agency

Finallythereisthe issuethatmensimplyarenever victims inthesamewaythat

womenaremdashnotonlyCordeliaand LaviniabutalsomanyofShakespearersquosotherwomen

likeOpheliaJulietDesdemona Cressida and Hermione Whyaretheonlyoutrightvictims

inShakespearersquosplayswomenIs Shakespearecommentinguponwomenrsquosinherent

weaknessHisevilwomenprovecertainlynotWhythenarethe onlywomenwhoresist

victimizationtheevilonesOn onehanditmaybethatShakespeareiscriticizingstrong

womenand punishing hischaractersthatdisplayagencyHoweverthishasalreadybeen

disprovenbyhowmuchsympathyonemayfeelfortheevilwomen whenareaderoractor

realizesthedepthofsufferingtheymayhaveexperiencedthemselves Anotherpossibility

isthatShakespeareis merelyobservinga truthabouttheworldmdashstrongwomenare

vilifiedandwomenonthewhole areoftenthe victimsofabuse toadegree thathistorically

menhavenotbeen

Ganger64

There areseveraldirectionsthisresearchmightleadin thefutureOfcoursefar

morecharacterscouldbestudied thanjusttheonespresentedhereI seethesameparallel

in Romeo and JulietwhereJulietexperiences a traumaonstageandLadyCapulethas

experiencedatrauma offstagebutitwouldbeextreme to call LadyCapuletavillaininthe

samewaythatTamora orGoneril areThesamerelationshipmightbeseenbetween

Opheliaand Gertrude in HamletbutagainwhileGertrudeisvilifiedtoacertainextentshe

ishardlya paralleltoLadyMacbethUsingthetheoryofproximityandtraumabutmoving

awayfromstrict archetypeswouldmakefor a morenuancedindividualanalysisofother

Shakespeareanwomen

Anotherpossibility isthequestion ofwhether thetheory istrueofthemale

characters aswellRichardIIIEdmundandAaron arevillains who explicitlydiscusstheir

pastmistreatment asjustification fortheirwickeddeedsCouldthesamebesaidforIago

thoughenigmaticand baffling in hishatredofOthelloormen likeMacbethorAngelowho

becomevillains throughthecourseoftheplayThenthereare male characters whoarefar

moremorallyambiguouslikeShylockLeontesorOthelloall ofwhomwould makefor

fascinating studiesof traumaOf coursethefactthatmenare not victimsinthesameway

thatwomenare isanotherreason toreconsiderthecharacterarchetypespresentedhere

andinstead tostudyproximity andtraumaasanewwaytothink aboutindividual

characters inShakespearersquosplays

A finalareaofstudythatmay open evenmore insights into thetheory ofproximity

andtraumaaswellas howgender playsintothetheoryis genreSofaronlyShakespearersquos

tragedieshavebeendiscussedbutthetheorymaybesuitableforthe studyofcomediesas

Ganger65

wellSomeofShakespearersquosmost researchedandmostlovedwomencomefromhis

comediesandinterestinglymanyofthemcanfallintothe two categoriesofeither

experiencingatrauma beforetheplayhasbegunorexperiencing a traumaonstage

BeatriceandHeroin Much Ado About Nothingfalltothetwosidesofthespectrum

BeatricewasspurnedbyBenedickwithwhomshehashadarelationshipinthepast

beforetheactionoftheplaybegins HeroisspurnedbyClaudioonstagein frontofthe

audienceMorestrongcomedicfemalecharactershaveexperiencedsomekindof painful

eventbefore theplayhasbegun likeRosalindKatharinaand Helena(Midsummer)though

admittedly the event isalways lessviolentthanthoseseenin thetragediesThe definition

of trauma mayneed tobere‐assessedKatharina in The Taming of the Shrewmayhave

experiencedpaternal neglect toa similardegreeas Goneriland Reganandas a resultsheis

byfarthemostviolentofShakespearersquoscomedicwomenHowever canaromantic

rejectionabrokenheartthemost commontypeofoffstagesuffering inShakespearersquos

comediesbeclassified inthesame category as thesuffering seen in thetragediesmdashwar

rapethedeathofachildThereal comparabilityof these characters wouldneed tobe

addressedifthetheoryofproximityandtraumawasextendedto Shakespearersquos comedies

WhenHaroldBloomwrotethatShakespeare hadinventedthehumanhemeantthat

Shakespearedemonstratedanunparalleledunderstandingofhuman naturethroughthe

creationof hischaractersHoweverheseemstodisplay thisunderstanding equallyinthe

creationof hisaudienceBytheirdistancefromacharacterrsquos traumaticeventShakespeare

manipulatesanaudiencersquosempathyandemotionalinvestmentinthe livesofthecharacters

onstageAn audiencersquos reactionsto Shakespearersquosplaysarenot trulyitsownmdashtheyhave

Ganger66

beenpredeterminedbytheplaywrightHealsoappearsto beahead of his time in his

instinctive understandingof theeffectof traumauponthepsycheNotonlymighttrauma

theorybehelpfulinfuturestudies ofShakespearebutexploringShakespearemight

providefurtherinsight intoliterarytraumatheory

Ganger67

Bibliography

Aebischer Pascale Shakespearersquos Violated Bodies Stage and Screen Performance

Cambridge Cambridge UP2004Print

Anderson Thomas P Performing Early Modern Trauma from Shakespeare to Milton Aldershot

UK Ashgate 2006 E-book

Ben-Ezra Menachem ldquoTraumatic Reactions from Antiquity to the 16th Centuryrdquo Stress and

Health 27 (2011) 223-240 ASP Web 8 Jan 2015

Bloom Harold Shakespeare The Invention of the Human New York Riverhead Books 1998

Print

BraytonDanldquoAngling intheLake ofDarknessPossessionDispossession

andthe PoliticsofDiscovery in King Learrdquo ELH702(2003)399‐426 Project Muse

Web21914

Britton John ldquoAC Bradly and Those Children of Lady Macbethrdquo Shakespeare Quarterly 123

(1961) 349-351 JSTOR Web 8 Jan 2015

Brown John Russell Shakespearersquos Plays in Performance New York St Martinrsquos Press 1966

Print

Burke Kenneth Counter-Statement Berkley and Los Angeles University of California Press

1968 Print

Calef V ldquoLady Macbeth and Infanticide How Many Children Had Lady Macbeth Murderedrdquo

Journal of the American Psychoanalytic Association 172 (1969) 528-548 American

Psychological Association Web 27 Jan 2015

CaruthCathy Unclaimed Experience Trauma Narrative and HistoryBaltimore MDJohns

HopkinsUniversity Press1996Print

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger56

Andlsquotis not donemdashthrsquoattemptand notthedeed

ConfoundsusmdashHarkmdashIlaidtheirdaggersready

HecouldnotmisslsquoemmdashHadhenotresembled

MyfatherashesleptIhaddonersquotmdashMyhusbandrdquo(221‐13)

Firstshemakestheaudience complicitinDuncanrsquosmurderbydescribing theactionsthat

arecurrently occurring offstage Enteringinanalcohol‐inducedmaniasheputsthe

audience in aposition inwhich theyareunabletostoptheactionsofMacbethShealso

makesseveralexcuses andjustifications forherownactionsin thispassageShehears a

soundthatshebelievesisascreamtowhichsheinstinctively and fearfully responds

ldquoHarkmdashPeacerdquoandthenimmediatelyjustifiesherreactionbyexplainingtothe audience

thatallsheheardwas anowlThis impliesthat shewouldnot havehadthesamereactionif

thesoundhadin factbeen a screamasifsucharesponsewouldbecowardlyandshe

wouldnevershowsuchweakness Shegoesontodescribethepreparations that havebeen

madeforthe murderandthenexplainswhysheisnotcommitting themurderherselfShe

saysthat theking resembledher fatherbutthisisathinlyveiledjustificationforthefact

thatsheisnotbraveenoughto murderthekingAllofthisamountstoLadyMacbeth

manipulatingtheaudienceinthe samewayshehasmanipulatedMacbethHoweverunlike

Macbeththeaudience seesthrough LadyMacbethrsquosartificeLadyMacbethactsvillainously

towardnot onlyherfellowcharactersbutalsotowardthe audienceitselfIn Act 5Scene1

LadyMacbethhasbecomesolost inherownmindthatshehasno awarenessof the

audiencersquospresenceShehasengagedsooftenwiththe audience beforethispoint(she

speaksdirectlytotheaudience in allbutonescene inwhichsheappearsbeforeAct5)that

hertotalignoranceoftheirpresenceisstrikingThisputstheaudienceintothepositionof

Ganger57

voyeursafarmoreuncomfortablepositionBeingas vulnerable assheisinAct5Lady

Macbethbecomesthevictimofadeepviolation ofprivacy bybeingwatchedwithouther

consent There isaclearcontrast betweenthe waythatLadyMacbethinteractswiththe

audience at thebeginningand atthe endoftheplayandthis contrast reversesherroles

fromvillain atthebeginningtovictimattheend

Thisrhetoricalanalysis leads toasimpleconclusionforwhat makesLadyMacbeth

differentbetweenthebeginningandendof MacbethHertransformationfromunrepentant

torepentantmarksher transformationfromvillaintovictimInherfinallineLady

MacbethsaysldquoTobedtobedtherersquosknockingatthegateComecomecomecomegive

meyourhandWhatrsquosdonecannot beundoneTobedtobedto bedrdquo(5162‐65)The

hurriedrepetitionofldquoTobedrdquoandldquoComerdquoprovides anurgencyanddesperation toherexit

whichwerealizeshortlyafterleads tohersuicideShespeaks hermotivationmdashthecauseof

hersuicide isthefactthatldquoWhatrsquosdonecannotbeundonerdquoSheessentiallydies ofguilt

Regret and guilt are feelings that areuniversal butinLadyMacbeththeyaremagnified

whichallowsforidentification andempathyfromtheaudience The unforgiveablevillains

arethosewhodiewith noremorse butanaudiencemembercannothelpbutfeelsympathy

forawomanwhoissotorturedbyherownactionsthatshefeelsshehasnooptionother

thansuicideRealizing thatshe hasactuallykilledherselflongagoassoonasthey

murdered Duncanallowstheaudience tounderstandthepunishmentshehassufferedand

shebecomesatrulysympathetic characterUnlikethedeathof herchildwhich Lady

Macbethexperiencedalonewithnoaudience witnessthistrauma of insanityis witnessed

andempathizedbythe audience

Ganger58

LadyMacbethbyoccupyingbotharchetypes provesthat Shakespearersquosldquoevilrdquo

characters donothaveinnatelycompromisedmoralsInsteadtheir deep‐seatedsufferings

areprocessedin a way thatprovokesvillainy Thesamewoman whentheaudience

witnesseshertraumadoesnotcontinuetoact inthe sameambitiousandselfish waythat

sheacted in thebeginningoftheplaybutratherretreats intochildlikeinnocenceLady

Macbethdemonstrates howcrucial thesharingoftraumaismdashhowdramaticallyaperson

canbechangeddependingonwhethertheirpainfulexperiencesarehiddenorshared

Ganger59

Act5

FinalThoughtsandFutureResearch

Afterinvestigating Titus Andronicus King Lear and Macbethsomefinalthoughtsare

necessarytoprobetherelevance ofthistheoryEvenifitis truethat ldquoevilrdquowomen

experience a traumaoffstage intheirpastand ldquogoodrdquowomenexperienceatraumaonstage

infrontof an audience thequestionremains whetherthisobservationprovides anylarger

significant meaningI believe the theoryprovidesimportantnewinsightintoShakespeare

asaplaywright

Atthecoreofthistheoryis empathyTheaudience experiencesaldquospecialfeeling of

compassionunderstandingandcarerdquoforthosecharactersthat itwitnesses in theirtragic

moments(Eklund29)Amanufacturedempathycanmanipulatethe audience intoa

particularexperience ForexamplejustasbothTamora andLaviniaarevictimsofa

traumaticexperience theyboth dieaviolent deathonstage(Shakespeare 53)However

wherethe audienceweepsforLaviniarsquosdeath itcheers for Tamorarsquos Somemayarguethat

thisispurely becauseLaviniadoes notcommitthekindsof violentdeedsthat Tamora

commitsHowever thispresumptionrequires theaudiencetoforget Laviniarsquosinvolvement

inthegruesomekidnappingandmurderofTamorarsquossonsChiron andDemetriusTitusand

Laviniafeel thatthey arejustified inmurderingtheboysand feedingthemtoTamorain a

piebecausetheyraped andmutilatedLavinia HoweverTamoraalsofeelsjustifiedin

orderingLaviniarsquosrapeasretributionforhersonrsquosdeathOne isconsidered evilandthe

otherjustdespiteboth beingviolentdeedsinthenameofvengeance Theaudiencersquos

empathymustmanipulatehowitbecomesthe judgeandjurytothesecharactersmdashonersquos

deathelicitsdespair andtheotherrsquoscelebrationIn Titus AndronicusShakespearersquos

Ganger60

bloodiestplaytheimpactismade even greaterAsactressKatyStephenspoints outthe

audience actuallyseemedthrilled bytheanticipationofseeing hereatherchildrenBy

manipulatingabondofempathybetweenthe audience and character Shakespeare

predicts and createsthe catharsisintheplayrsquos finaleOfcoursetheaudience feels catharsis

atthedeath ofacharacterinwhomitfeelsinvestedthusLaviniais asacrificialmartyrfor

theaudiencersquostheatricalexperiencewhileTamoraisthe convictattheguillotinekilledfor

theaudiencersquosenjoymentThesamecanbesaidof King LearShakespearemanipulatesthe

audiencersquos experiences byremoving GonerilandReganrsquosbodiesandallowingCordeliarsquos

corpsetotakecenterstagewhichproducesagreatercatharsis

Shakespearersquoscharactersarewrittenas ifthey arerealpeopleandinfacttheyare

ldquorealrdquoifonlyphysicallymdashtheyare atleast embodiedbyrealpeopleHehaswrittenwicked

characters forwhomanaudience perhapsmightstillfeelsympathyByprovidingenough

cluesaboutwhathaswoundedtheseevilwomenintheirpastShakespearemaintains

three‐dimensional nuancedcharacters ratherthanuninterestingcaricatures Trained

actorsprobethetextto minecompellingandsupportedbackstories whichunlockthese

three‐dimensionalcharactersRemembering thatShakespearersquosplayswerefirstperformed

isinvaluabletothestudyofhisplaysandstudentsof Shakespeareshouldassumetherole

ofactortoadegreefeelingfree toimaginativelyfillin the gapsofhis charactersrsquo lives

Hehasalsounlockedanunderstandingof his audiencemdashthatseeingatraumatic

eventdeepensthe audiencersquosempathyforacharacterwhichpromotesgreater catharsis

andentertainmentThereforeit isnrsquotthatthe audiencecreatesldquoevilrdquocharacters inits

perception (thatisadangerousclaimsince TamorarsquosGonerilrsquosReganrsquosandLady

Macbethrsquosactionsareheinousand inexcusable)RatherShakespeareinanother displayof

Ganger61

hisunderstandingofhumannatureusesthetensionofspaceanddistancetocreate

characterstheaudience wouldempathizewith atdifferent levelsmdashvillaincharactersvery

littleandvictimcharactersverymuchEachof thesefactors contributestothetheatrical

experienceHewasinthebusinessofcreatinggoodtheatremdashthree‐dimensionalvillains

makeforbetter theatrethanflatcaricaturesandenhancingcatharsiscreatesa more

intense and therefore moreengrossingandmoreenjoyabletheatreexperience forthe

audienceFurthermoreShakespearedisplays anuncanny understandingofhowtraumatic

experiences mustbewitnessedand sharedinordertoberesolvedinstinctively

demonstratingwhathasonlyrecentlybeenputintowordsbymoderntraumascholars

Shakespearersquosdevice ofhidingeventsandexperiencesoffstage servesasareplicationof

therealworldsituationofrealpeopleneedingawitness

Thequestion ofwhethergenderplaysapartinthistheoryrequires furthercommentas

wellThere issomethingtobesaid forfemaleagencyinanyearlymodernwork Critics

oftendiscussthemartyrarchetypesasgaining agencyin their deathsCaroline Lamb

specificallypointstoLaviniarsquosagencyinherdeathIquestionwhycriticshavegivensuch

littleattentiontothevillains Thevillainarchetypesdonot gain agencyintheirdeaths

becausetheyhavedemonstratedagencyintheirlivesTamorapropelstheplotforward

morethan almostany othercharacterThesamecanbesaidofGonerilandReganand

Macbethwouldnever havemurderedthekingifnotfor LadyMacbethrsquosagency For

exampleIfeelfurther compelledtonotethecentralityof LaviniarsquosroleinPaschal

Aebischerrsquos evaluation oftheplay ShecitesldquoTitusrsquoverbal andLaviniarsquosphysical

prominencerdquoclaiming thatLaviniaisas important tothe play asTitus(37)Thisignores

Ganger62

Tamoraas thecatalyst formost oftheactionthroughoutIwouldarguethatiftherewere

anyparallelcharacter to Titusif theplaywas asmuchabout anyonecharacter asitis

aboutTitusitmustbeTamoraThe evilwomenare far from submissivetheyact ontheir

owncompulsionoftencontraryto themensurroundingthemYesthesecharactersare not

nicecharactersbuttheycertainlyhaveagencyDianeElizabethDreherdescribesthese

tragicwomenasldquo[attempting]to outdotheir menin aggressionrdquo (168)Thereseemstobe

anunconsciouscriticaltendency to wantwomentohaveagency butnottoomuchornot

asmuchasmen

EllenTerry believes thatShakespearewas essentiallya feministwhenshediscusses

thewomen fromhiscomedies

Haveyoueverthoughthowmuchwealland womenespeciallyowetoShakespearefor

hisvindicationofwomeninthesefearlesshigh‐spiritedresoluteandintelligent

heroinesDonrsquotbelievetheanti‐feminists iftheytellyouas Iwasoncetoldthat

Shakespearehadtoendowhiswomenwithvirilequalitiesbecauseinhistheatrethey

were alwaysimpersonatedbymenThismay accountfor thefrequencywithwhich

theymasqueradeasboysbutIamconvinced thatithadlittle influenceon

Shakespearersquosstudies ofwomen Theyowe farmoretotheliberalideasaboutthesex

whichwerefermenting inShakespearersquosage Theassumptionthat lsquothewomanrsquos

movementrsquo isofveryrecentdatemdashsomething peculiarlymodernmdashis notwarrantedby

historyThereis evidenceofits existence in thefifteenthcentury(81)

TocreditShakespearewithtooprogressivea viewmight beamistakebecausecertainly

notallofhisplaysportrayfullystrongand independentwomenEvenTerryadmitsthat

Helenain Allrsquos Well that Ends Well and Julia in Two Gentlemen of Verona areldquodoormatsrdquo

Ganger63

(151)Howevermost ofhiswomenareas fullydevelopedandcaredforasmostofhismen

(Ibelievethereare examplesofbothgendersthatstillprove tobefairlyshallowbutthat

mayalsobebecauseIhavenot spentenoughtimemining thosetexts)andthat is certainly

noteworthyIfweseparate thewomenintoourarchetypesShakespearedefinitelygives

evilwomen asmuchagencyandpersonalityastheirgoodcounterpartssomethingthat

evenEllen Terry neglectsInheranalysisof King LearonceagainCordeliaisthesubjectof

in‐depthanalysisandGoneriland Reganaretotallyignored(Terry153‐157)Regardlessof

hispolitical orsocialgoals(ofwhichTerryseemstobereferringwhensheclaimsthatheis

afeminist)thewomenin Titus Andronicus King Learand Macbeth areindividualsthey

arethree‐dimensionalcomplexpeoplewitha great dealof agency

Finallythereisthe issuethatmensimplyarenever victims inthesamewaythat

womenaremdashnotonlyCordeliaand LaviniabutalsomanyofShakespearersquosotherwomen

likeOpheliaJulietDesdemona Cressida and Hermione Whyaretheonlyoutrightvictims

inShakespearersquosplayswomenIs Shakespearecommentinguponwomenrsquosinherent

weaknessHisevilwomenprovecertainlynotWhythenarethe onlywomenwhoresist

victimizationtheevilonesOn onehanditmaybethatShakespeareiscriticizingstrong

womenand punishing hischaractersthatdisplayagencyHoweverthishasalreadybeen

disprovenbyhowmuchsympathyonemayfeelfortheevilwomen whenareaderoractor

realizesthedepthofsufferingtheymayhaveexperiencedthemselves Anotherpossibility

isthatShakespeareis merelyobservinga truthabouttheworldmdashstrongwomenare

vilifiedandwomenonthewhole areoftenthe victimsofabuse toadegree thathistorically

menhavenotbeen

Ganger64

There areseveraldirectionsthisresearchmightleadin thefutureOfcoursefar

morecharacterscouldbestudied thanjusttheonespresentedhereI seethesameparallel

in Romeo and JulietwhereJulietexperiences a traumaonstageandLadyCapulethas

experiencedatrauma offstagebutitwouldbeextreme to call LadyCapuletavillaininthe

samewaythatTamora orGoneril areThesamerelationshipmightbeseenbetween

Opheliaand Gertrude in HamletbutagainwhileGertrudeisvilifiedtoacertainextentshe

ishardlya paralleltoLadyMacbethUsingthetheoryofproximityandtraumabutmoving

awayfromstrict archetypeswouldmakefor a morenuancedindividualanalysisofother

Shakespeareanwomen

Anotherpossibility isthequestion ofwhether thetheory istrueofthemale

characters aswellRichardIIIEdmundandAaron arevillains who explicitlydiscusstheir

pastmistreatment asjustification fortheirwickeddeedsCouldthesamebesaidforIago

thoughenigmaticand baffling in hishatredofOthelloormen likeMacbethorAngelowho

becomevillains throughthecourseoftheplayThenthereare male characters whoarefar

moremorallyambiguouslikeShylockLeontesorOthelloall ofwhomwould makefor

fascinating studiesof traumaOf coursethefactthatmenare not victimsinthesameway

thatwomenare isanotherreason toreconsiderthecharacterarchetypespresentedhere

andinstead tostudyproximity andtraumaasanewwaytothink aboutindividual

characters inShakespearersquosplays

A finalareaofstudythatmay open evenmore insights into thetheory ofproximity

andtraumaaswellas howgender playsintothetheoryis genreSofaronlyShakespearersquos

tragedieshavebeendiscussedbutthetheorymaybesuitableforthe studyofcomediesas

Ganger65

wellSomeofShakespearersquosmost researchedandmostlovedwomencomefromhis

comediesandinterestinglymanyofthemcanfallintothe two categoriesofeither

experiencingatrauma beforetheplayhasbegunorexperiencing a traumaonstage

BeatriceandHeroin Much Ado About Nothingfalltothetwosidesofthespectrum

BeatricewasspurnedbyBenedickwithwhomshehashadarelationshipinthepast

beforetheactionoftheplaybegins HeroisspurnedbyClaudioonstagein frontofthe

audienceMorestrongcomedicfemalecharactershaveexperiencedsomekindof painful

eventbefore theplayhasbegun likeRosalindKatharinaand Helena(Midsummer)though

admittedly the event isalways lessviolentthanthoseseenin thetragediesThe definition

of trauma mayneed tobere‐assessedKatharina in The Taming of the Shrewmayhave

experiencedpaternal neglect toa similardegreeas Goneriland Reganandas a resultsheis

byfarthemostviolentofShakespearersquoscomedicwomenHowever canaromantic

rejectionabrokenheartthemost commontypeofoffstagesuffering inShakespearersquos

comediesbeclassified inthesame category as thesuffering seen in thetragediesmdashwar

rapethedeathofachildThereal comparabilityof these characters wouldneed tobe

addressedifthetheoryofproximityandtraumawasextendedto Shakespearersquos comedies

WhenHaroldBloomwrotethatShakespeare hadinventedthehumanhemeantthat

Shakespearedemonstratedanunparalleledunderstandingofhuman naturethroughthe

creationof hischaractersHoweverheseemstodisplay thisunderstanding equallyinthe

creationof hisaudienceBytheirdistancefromacharacterrsquos traumaticeventShakespeare

manipulatesanaudiencersquosempathyandemotionalinvestmentinthe livesofthecharacters

onstageAn audiencersquos reactionsto Shakespearersquosplaysarenot trulyitsownmdashtheyhave

Ganger66

beenpredeterminedbytheplaywrightHealsoappearsto beahead of his time in his

instinctive understandingof theeffectof traumauponthepsycheNotonlymighttrauma

theorybehelpfulinfuturestudies ofShakespearebutexploringShakespearemight

providefurtherinsight intoliterarytraumatheory

Ganger67

Bibliography

Aebischer Pascale Shakespearersquos Violated Bodies Stage and Screen Performance

Cambridge Cambridge UP2004Print

Anderson Thomas P Performing Early Modern Trauma from Shakespeare to Milton Aldershot

UK Ashgate 2006 E-book

Ben-Ezra Menachem ldquoTraumatic Reactions from Antiquity to the 16th Centuryrdquo Stress and

Health 27 (2011) 223-240 ASP Web 8 Jan 2015

Bloom Harold Shakespeare The Invention of the Human New York Riverhead Books 1998

Print

BraytonDanldquoAngling intheLake ofDarknessPossessionDispossession

andthe PoliticsofDiscovery in King Learrdquo ELH702(2003)399‐426 Project Muse

Web21914

Britton John ldquoAC Bradly and Those Children of Lady Macbethrdquo Shakespeare Quarterly 123

(1961) 349-351 JSTOR Web 8 Jan 2015

Brown John Russell Shakespearersquos Plays in Performance New York St Martinrsquos Press 1966

Print

Burke Kenneth Counter-Statement Berkley and Los Angeles University of California Press

1968 Print

Calef V ldquoLady Macbeth and Infanticide How Many Children Had Lady Macbeth Murderedrdquo

Journal of the American Psychoanalytic Association 172 (1969) 528-548 American

Psychological Association Web 27 Jan 2015

CaruthCathy Unclaimed Experience Trauma Narrative and HistoryBaltimore MDJohns

HopkinsUniversity Press1996Print

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger57

voyeursafarmoreuncomfortablepositionBeingas vulnerable assheisinAct5Lady

Macbethbecomesthevictimofadeepviolation ofprivacy bybeingwatchedwithouther

consent There isaclearcontrast betweenthe waythatLadyMacbethinteractswiththe

audience at thebeginningand atthe endoftheplayandthis contrast reversesherroles

fromvillain atthebeginningtovictimattheend

Thisrhetoricalanalysis leads toasimpleconclusionforwhat makesLadyMacbeth

differentbetweenthebeginningandendof MacbethHertransformationfromunrepentant

torepentantmarksher transformationfromvillaintovictimInherfinallineLady

MacbethsaysldquoTobedtobedtherersquosknockingatthegateComecomecomecomegive

meyourhandWhatrsquosdonecannot beundoneTobedtobedto bedrdquo(5162‐65)The

hurriedrepetitionofldquoTobedrdquoandldquoComerdquoprovides anurgencyanddesperation toherexit

whichwerealizeshortlyafterleads tohersuicideShespeaks hermotivationmdashthecauseof

hersuicide isthefactthatldquoWhatrsquosdonecannotbeundonerdquoSheessentiallydies ofguilt

Regret and guilt are feelings that areuniversal butinLadyMacbeththeyaremagnified

whichallowsforidentification andempathyfromtheaudience The unforgiveablevillains

arethosewhodiewith noremorse butanaudiencemembercannothelpbutfeelsympathy

forawomanwhoissotorturedbyherownactionsthatshefeelsshehasnooptionother

thansuicideRealizing thatshe hasactuallykilledherselflongagoassoonasthey

murdered Duncanallowstheaudience tounderstandthepunishmentshehassufferedand

shebecomesatrulysympathetic characterUnlikethedeathof herchildwhich Lady

Macbethexperiencedalonewithnoaudience witnessthistrauma of insanityis witnessed

andempathizedbythe audience

Ganger58

LadyMacbethbyoccupyingbotharchetypes provesthat Shakespearersquosldquoevilrdquo

characters donothaveinnatelycompromisedmoralsInsteadtheir deep‐seatedsufferings

areprocessedin a way thatprovokesvillainy Thesamewoman whentheaudience

witnesseshertraumadoesnotcontinuetoact inthe sameambitiousandselfish waythat

sheacted in thebeginningoftheplaybutratherretreats intochildlikeinnocenceLady

Macbethdemonstrates howcrucial thesharingoftraumaismdashhowdramaticallyaperson

canbechangeddependingonwhethertheirpainfulexperiencesarehiddenorshared

Ganger59

Act5

FinalThoughtsandFutureResearch

Afterinvestigating Titus Andronicus King Lear and Macbethsomefinalthoughtsare

necessarytoprobetherelevance ofthistheoryEvenifitis truethat ldquoevilrdquowomen

experience a traumaoffstage intheirpastand ldquogoodrdquowomenexperienceatraumaonstage

infrontof an audience thequestionremains whetherthisobservationprovides anylarger

significant meaningI believe the theoryprovidesimportantnewinsightintoShakespeare

asaplaywright

Atthecoreofthistheoryis empathyTheaudience experiencesaldquospecialfeeling of

compassionunderstandingandcarerdquoforthosecharactersthat itwitnesses in theirtragic

moments(Eklund29)Amanufacturedempathycanmanipulatethe audience intoa

particularexperience ForexamplejustasbothTamora andLaviniaarevictimsofa

traumaticexperience theyboth dieaviolent deathonstage(Shakespeare 53)However

wherethe audienceweepsforLaviniarsquosdeath itcheers for Tamorarsquos Somemayarguethat

thisispurely becauseLaviniadoes notcommitthekindsof violentdeedsthat Tamora

commitsHowever thispresumptionrequires theaudiencetoforget Laviniarsquosinvolvement

inthegruesomekidnappingandmurderofTamorarsquossonsChiron andDemetriusTitusand

Laviniafeel thatthey arejustified inmurderingtheboysand feedingthemtoTamorain a

piebecausetheyraped andmutilatedLavinia HoweverTamoraalsofeelsjustifiedin

orderingLaviniarsquosrapeasretributionforhersonrsquosdeathOne isconsidered evilandthe

otherjustdespiteboth beingviolentdeedsinthenameofvengeance Theaudiencersquos

empathymustmanipulatehowitbecomesthe judgeandjurytothesecharactersmdashonersquos

deathelicitsdespair andtheotherrsquoscelebrationIn Titus AndronicusShakespearersquos

Ganger60

bloodiestplaytheimpactismade even greaterAsactressKatyStephenspoints outthe

audience actuallyseemedthrilled bytheanticipationofseeing hereatherchildrenBy

manipulatingabondofempathybetweenthe audience and character Shakespeare

predicts and createsthe catharsisintheplayrsquos finaleOfcoursetheaudience feels catharsis

atthedeath ofacharacterinwhomitfeelsinvestedthusLaviniais asacrificialmartyrfor

theaudiencersquostheatricalexperiencewhileTamoraisthe convictattheguillotinekilledfor

theaudiencersquosenjoymentThesamecanbesaidof King LearShakespearemanipulatesthe

audiencersquos experiences byremoving GonerilandReganrsquosbodiesandallowingCordeliarsquos

corpsetotakecenterstagewhichproducesagreatercatharsis

Shakespearersquoscharactersarewrittenas ifthey arerealpeopleandinfacttheyare

ldquorealrdquoifonlyphysicallymdashtheyare atleast embodiedbyrealpeopleHehaswrittenwicked

characters forwhomanaudience perhapsmightstillfeelsympathyByprovidingenough

cluesaboutwhathaswoundedtheseevilwomenintheirpastShakespearemaintains

three‐dimensional nuancedcharacters ratherthanuninterestingcaricatures Trained

actorsprobethetextto minecompellingandsupportedbackstories whichunlockthese

three‐dimensionalcharactersRemembering thatShakespearersquosplayswerefirstperformed

isinvaluabletothestudyofhisplaysandstudentsof Shakespeareshouldassumetherole

ofactortoadegreefeelingfree toimaginativelyfillin the gapsofhis charactersrsquo lives

Hehasalsounlockedanunderstandingof his audiencemdashthatseeingatraumatic

eventdeepensthe audiencersquosempathyforacharacterwhichpromotesgreater catharsis

andentertainmentThereforeit isnrsquotthatthe audiencecreatesldquoevilrdquocharacters inits

perception (thatisadangerousclaimsince TamorarsquosGonerilrsquosReganrsquosandLady

Macbethrsquosactionsareheinousand inexcusable)RatherShakespeareinanother displayof

Ganger61

hisunderstandingofhumannatureusesthetensionofspaceanddistancetocreate

characterstheaudience wouldempathizewith atdifferent levelsmdashvillaincharactersvery

littleandvictimcharactersverymuchEachof thesefactors contributestothetheatrical

experienceHewasinthebusinessofcreatinggoodtheatremdashthree‐dimensionalvillains

makeforbetter theatrethanflatcaricaturesandenhancingcatharsiscreatesa more

intense and therefore moreengrossingandmoreenjoyabletheatreexperience forthe

audienceFurthermoreShakespearedisplays anuncanny understandingofhowtraumatic

experiences mustbewitnessedand sharedinordertoberesolvedinstinctively

demonstratingwhathasonlyrecentlybeenputintowordsbymoderntraumascholars

Shakespearersquosdevice ofhidingeventsandexperiencesoffstage servesasareplicationof

therealworldsituationofrealpeopleneedingawitness

Thequestion ofwhethergenderplaysapartinthistheoryrequires furthercommentas

wellThere issomethingtobesaid forfemaleagencyinanyearlymodernwork Critics

oftendiscussthemartyrarchetypesasgaining agencyin their deathsCaroline Lamb

specificallypointstoLaviniarsquosagencyinherdeathIquestionwhycriticshavegivensuch

littleattentiontothevillains Thevillainarchetypesdonot gain agencyintheirdeaths

becausetheyhavedemonstratedagencyintheirlivesTamorapropelstheplotforward

morethan almostany othercharacterThesamecanbesaidofGonerilandReganand

Macbethwouldnever havemurderedthekingifnotfor LadyMacbethrsquosagency For

exampleIfeelfurther compelledtonotethecentralityof LaviniarsquosroleinPaschal

Aebischerrsquos evaluation oftheplay ShecitesldquoTitusrsquoverbal andLaviniarsquosphysical

prominencerdquoclaiming thatLaviniaisas important tothe play asTitus(37)Thisignores

Ganger62

Tamoraas thecatalyst formost oftheactionthroughoutIwouldarguethatiftherewere

anyparallelcharacter to Titusif theplaywas asmuchabout anyonecharacter asitis

aboutTitusitmustbeTamoraThe evilwomenare far from submissivetheyact ontheir

owncompulsionoftencontraryto themensurroundingthemYesthesecharactersare not

nicecharactersbuttheycertainlyhaveagencyDianeElizabethDreherdescribesthese

tragicwomenasldquo[attempting]to outdotheir menin aggressionrdquo (168)Thereseemstobe

anunconsciouscriticaltendency to wantwomentohaveagency butnottoomuchornot

asmuchasmen

EllenTerry believes thatShakespearewas essentiallya feministwhenshediscusses

thewomen fromhiscomedies

Haveyoueverthoughthowmuchwealland womenespeciallyowetoShakespearefor

hisvindicationofwomeninthesefearlesshigh‐spiritedresoluteandintelligent

heroinesDonrsquotbelievetheanti‐feminists iftheytellyouas Iwasoncetoldthat

Shakespearehadtoendowhiswomenwithvirilequalitiesbecauseinhistheatrethey

were alwaysimpersonatedbymenThismay accountfor thefrequencywithwhich

theymasqueradeasboysbutIamconvinced thatithadlittle influenceon

Shakespearersquosstudies ofwomen Theyowe farmoretotheliberalideasaboutthesex

whichwerefermenting inShakespearersquosage Theassumptionthat lsquothewomanrsquos

movementrsquo isofveryrecentdatemdashsomething peculiarlymodernmdashis notwarrantedby

historyThereis evidenceofits existence in thefifteenthcentury(81)

TocreditShakespearewithtooprogressivea viewmight beamistakebecausecertainly

notallofhisplaysportrayfullystrongand independentwomenEvenTerryadmitsthat

Helenain Allrsquos Well that Ends Well and Julia in Two Gentlemen of Verona areldquodoormatsrdquo

Ganger63

(151)Howevermost ofhiswomenareas fullydevelopedandcaredforasmostofhismen

(Ibelievethereare examplesofbothgendersthatstillprove tobefairlyshallowbutthat

mayalsobebecauseIhavenot spentenoughtimemining thosetexts)andthat is certainly

noteworthyIfweseparate thewomenintoourarchetypesShakespearedefinitelygives

evilwomen asmuchagencyandpersonalityastheirgoodcounterpartssomethingthat

evenEllen Terry neglectsInheranalysisof King LearonceagainCordeliaisthesubjectof

in‐depthanalysisandGoneriland Reganaretotallyignored(Terry153‐157)Regardlessof

hispolitical orsocialgoals(ofwhichTerryseemstobereferringwhensheclaimsthatheis

afeminist)thewomenin Titus Andronicus King Learand Macbeth areindividualsthey

arethree‐dimensionalcomplexpeoplewitha great dealof agency

Finallythereisthe issuethatmensimplyarenever victims inthesamewaythat

womenaremdashnotonlyCordeliaand LaviniabutalsomanyofShakespearersquosotherwomen

likeOpheliaJulietDesdemona Cressida and Hermione Whyaretheonlyoutrightvictims

inShakespearersquosplayswomenIs Shakespearecommentinguponwomenrsquosinherent

weaknessHisevilwomenprovecertainlynotWhythenarethe onlywomenwhoresist

victimizationtheevilonesOn onehanditmaybethatShakespeareiscriticizingstrong

womenand punishing hischaractersthatdisplayagencyHoweverthishasalreadybeen

disprovenbyhowmuchsympathyonemayfeelfortheevilwomen whenareaderoractor

realizesthedepthofsufferingtheymayhaveexperiencedthemselves Anotherpossibility

isthatShakespeareis merelyobservinga truthabouttheworldmdashstrongwomenare

vilifiedandwomenonthewhole areoftenthe victimsofabuse toadegree thathistorically

menhavenotbeen

Ganger64

There areseveraldirectionsthisresearchmightleadin thefutureOfcoursefar

morecharacterscouldbestudied thanjusttheonespresentedhereI seethesameparallel

in Romeo and JulietwhereJulietexperiences a traumaonstageandLadyCapulethas

experiencedatrauma offstagebutitwouldbeextreme to call LadyCapuletavillaininthe

samewaythatTamora orGoneril areThesamerelationshipmightbeseenbetween

Opheliaand Gertrude in HamletbutagainwhileGertrudeisvilifiedtoacertainextentshe

ishardlya paralleltoLadyMacbethUsingthetheoryofproximityandtraumabutmoving

awayfromstrict archetypeswouldmakefor a morenuancedindividualanalysisofother

Shakespeareanwomen

Anotherpossibility isthequestion ofwhether thetheory istrueofthemale

characters aswellRichardIIIEdmundandAaron arevillains who explicitlydiscusstheir

pastmistreatment asjustification fortheirwickeddeedsCouldthesamebesaidforIago

thoughenigmaticand baffling in hishatredofOthelloormen likeMacbethorAngelowho

becomevillains throughthecourseoftheplayThenthereare male characters whoarefar

moremorallyambiguouslikeShylockLeontesorOthelloall ofwhomwould makefor

fascinating studiesof traumaOf coursethefactthatmenare not victimsinthesameway

thatwomenare isanotherreason toreconsiderthecharacterarchetypespresentedhere

andinstead tostudyproximity andtraumaasanewwaytothink aboutindividual

characters inShakespearersquosplays

A finalareaofstudythatmay open evenmore insights into thetheory ofproximity

andtraumaaswellas howgender playsintothetheoryis genreSofaronlyShakespearersquos

tragedieshavebeendiscussedbutthetheorymaybesuitableforthe studyofcomediesas

Ganger65

wellSomeofShakespearersquosmost researchedandmostlovedwomencomefromhis

comediesandinterestinglymanyofthemcanfallintothe two categoriesofeither

experiencingatrauma beforetheplayhasbegunorexperiencing a traumaonstage

BeatriceandHeroin Much Ado About Nothingfalltothetwosidesofthespectrum

BeatricewasspurnedbyBenedickwithwhomshehashadarelationshipinthepast

beforetheactionoftheplaybegins HeroisspurnedbyClaudioonstagein frontofthe

audienceMorestrongcomedicfemalecharactershaveexperiencedsomekindof painful

eventbefore theplayhasbegun likeRosalindKatharinaand Helena(Midsummer)though

admittedly the event isalways lessviolentthanthoseseenin thetragediesThe definition

of trauma mayneed tobere‐assessedKatharina in The Taming of the Shrewmayhave

experiencedpaternal neglect toa similardegreeas Goneriland Reganandas a resultsheis

byfarthemostviolentofShakespearersquoscomedicwomenHowever canaromantic

rejectionabrokenheartthemost commontypeofoffstagesuffering inShakespearersquos

comediesbeclassified inthesame category as thesuffering seen in thetragediesmdashwar

rapethedeathofachildThereal comparabilityof these characters wouldneed tobe

addressedifthetheoryofproximityandtraumawasextendedto Shakespearersquos comedies

WhenHaroldBloomwrotethatShakespeare hadinventedthehumanhemeantthat

Shakespearedemonstratedanunparalleledunderstandingofhuman naturethroughthe

creationof hischaractersHoweverheseemstodisplay thisunderstanding equallyinthe

creationof hisaudienceBytheirdistancefromacharacterrsquos traumaticeventShakespeare

manipulatesanaudiencersquosempathyandemotionalinvestmentinthe livesofthecharacters

onstageAn audiencersquos reactionsto Shakespearersquosplaysarenot trulyitsownmdashtheyhave

Ganger66

beenpredeterminedbytheplaywrightHealsoappearsto beahead of his time in his

instinctive understandingof theeffectof traumauponthepsycheNotonlymighttrauma

theorybehelpfulinfuturestudies ofShakespearebutexploringShakespearemight

providefurtherinsight intoliterarytraumatheory

Ganger67

Bibliography

Aebischer Pascale Shakespearersquos Violated Bodies Stage and Screen Performance

Cambridge Cambridge UP2004Print

Anderson Thomas P Performing Early Modern Trauma from Shakespeare to Milton Aldershot

UK Ashgate 2006 E-book

Ben-Ezra Menachem ldquoTraumatic Reactions from Antiquity to the 16th Centuryrdquo Stress and

Health 27 (2011) 223-240 ASP Web 8 Jan 2015

Bloom Harold Shakespeare The Invention of the Human New York Riverhead Books 1998

Print

BraytonDanldquoAngling intheLake ofDarknessPossessionDispossession

andthe PoliticsofDiscovery in King Learrdquo ELH702(2003)399‐426 Project Muse

Web21914

Britton John ldquoAC Bradly and Those Children of Lady Macbethrdquo Shakespeare Quarterly 123

(1961) 349-351 JSTOR Web 8 Jan 2015

Brown John Russell Shakespearersquos Plays in Performance New York St Martinrsquos Press 1966

Print

Burke Kenneth Counter-Statement Berkley and Los Angeles University of California Press

1968 Print

Calef V ldquoLady Macbeth and Infanticide How Many Children Had Lady Macbeth Murderedrdquo

Journal of the American Psychoanalytic Association 172 (1969) 528-548 American

Psychological Association Web 27 Jan 2015

CaruthCathy Unclaimed Experience Trauma Narrative and HistoryBaltimore MDJohns

HopkinsUniversity Press1996Print

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger58

LadyMacbethbyoccupyingbotharchetypes provesthat Shakespearersquosldquoevilrdquo

characters donothaveinnatelycompromisedmoralsInsteadtheir deep‐seatedsufferings

areprocessedin a way thatprovokesvillainy Thesamewoman whentheaudience

witnesseshertraumadoesnotcontinuetoact inthe sameambitiousandselfish waythat

sheacted in thebeginningoftheplaybutratherretreats intochildlikeinnocenceLady

Macbethdemonstrates howcrucial thesharingoftraumaismdashhowdramaticallyaperson

canbechangeddependingonwhethertheirpainfulexperiencesarehiddenorshared

Ganger59

Act5

FinalThoughtsandFutureResearch

Afterinvestigating Titus Andronicus King Lear and Macbethsomefinalthoughtsare

necessarytoprobetherelevance ofthistheoryEvenifitis truethat ldquoevilrdquowomen

experience a traumaoffstage intheirpastand ldquogoodrdquowomenexperienceatraumaonstage

infrontof an audience thequestionremains whetherthisobservationprovides anylarger

significant meaningI believe the theoryprovidesimportantnewinsightintoShakespeare

asaplaywright

Atthecoreofthistheoryis empathyTheaudience experiencesaldquospecialfeeling of

compassionunderstandingandcarerdquoforthosecharactersthat itwitnesses in theirtragic

moments(Eklund29)Amanufacturedempathycanmanipulatethe audience intoa

particularexperience ForexamplejustasbothTamora andLaviniaarevictimsofa

traumaticexperience theyboth dieaviolent deathonstage(Shakespeare 53)However

wherethe audienceweepsforLaviniarsquosdeath itcheers for Tamorarsquos Somemayarguethat

thisispurely becauseLaviniadoes notcommitthekindsof violentdeedsthat Tamora

commitsHowever thispresumptionrequires theaudiencetoforget Laviniarsquosinvolvement

inthegruesomekidnappingandmurderofTamorarsquossonsChiron andDemetriusTitusand

Laviniafeel thatthey arejustified inmurderingtheboysand feedingthemtoTamorain a

piebecausetheyraped andmutilatedLavinia HoweverTamoraalsofeelsjustifiedin

orderingLaviniarsquosrapeasretributionforhersonrsquosdeathOne isconsidered evilandthe

otherjustdespiteboth beingviolentdeedsinthenameofvengeance Theaudiencersquos

empathymustmanipulatehowitbecomesthe judgeandjurytothesecharactersmdashonersquos

deathelicitsdespair andtheotherrsquoscelebrationIn Titus AndronicusShakespearersquos

Ganger60

bloodiestplaytheimpactismade even greaterAsactressKatyStephenspoints outthe

audience actuallyseemedthrilled bytheanticipationofseeing hereatherchildrenBy

manipulatingabondofempathybetweenthe audience and character Shakespeare

predicts and createsthe catharsisintheplayrsquos finaleOfcoursetheaudience feels catharsis

atthedeath ofacharacterinwhomitfeelsinvestedthusLaviniais asacrificialmartyrfor

theaudiencersquostheatricalexperiencewhileTamoraisthe convictattheguillotinekilledfor

theaudiencersquosenjoymentThesamecanbesaidof King LearShakespearemanipulatesthe

audiencersquos experiences byremoving GonerilandReganrsquosbodiesandallowingCordeliarsquos

corpsetotakecenterstagewhichproducesagreatercatharsis

Shakespearersquoscharactersarewrittenas ifthey arerealpeopleandinfacttheyare

ldquorealrdquoifonlyphysicallymdashtheyare atleast embodiedbyrealpeopleHehaswrittenwicked

characters forwhomanaudience perhapsmightstillfeelsympathyByprovidingenough

cluesaboutwhathaswoundedtheseevilwomenintheirpastShakespearemaintains

three‐dimensional nuancedcharacters ratherthanuninterestingcaricatures Trained

actorsprobethetextto minecompellingandsupportedbackstories whichunlockthese

three‐dimensionalcharactersRemembering thatShakespearersquosplayswerefirstperformed

isinvaluabletothestudyofhisplaysandstudentsof Shakespeareshouldassumetherole

ofactortoadegreefeelingfree toimaginativelyfillin the gapsofhis charactersrsquo lives

Hehasalsounlockedanunderstandingof his audiencemdashthatseeingatraumatic

eventdeepensthe audiencersquosempathyforacharacterwhichpromotesgreater catharsis

andentertainmentThereforeit isnrsquotthatthe audiencecreatesldquoevilrdquocharacters inits

perception (thatisadangerousclaimsince TamorarsquosGonerilrsquosReganrsquosandLady

Macbethrsquosactionsareheinousand inexcusable)RatherShakespeareinanother displayof

Ganger61

hisunderstandingofhumannatureusesthetensionofspaceanddistancetocreate

characterstheaudience wouldempathizewith atdifferent levelsmdashvillaincharactersvery

littleandvictimcharactersverymuchEachof thesefactors contributestothetheatrical

experienceHewasinthebusinessofcreatinggoodtheatremdashthree‐dimensionalvillains

makeforbetter theatrethanflatcaricaturesandenhancingcatharsiscreatesa more

intense and therefore moreengrossingandmoreenjoyabletheatreexperience forthe

audienceFurthermoreShakespearedisplays anuncanny understandingofhowtraumatic

experiences mustbewitnessedand sharedinordertoberesolvedinstinctively

demonstratingwhathasonlyrecentlybeenputintowordsbymoderntraumascholars

Shakespearersquosdevice ofhidingeventsandexperiencesoffstage servesasareplicationof

therealworldsituationofrealpeopleneedingawitness

Thequestion ofwhethergenderplaysapartinthistheoryrequires furthercommentas

wellThere issomethingtobesaid forfemaleagencyinanyearlymodernwork Critics

oftendiscussthemartyrarchetypesasgaining agencyin their deathsCaroline Lamb

specificallypointstoLaviniarsquosagencyinherdeathIquestionwhycriticshavegivensuch

littleattentiontothevillains Thevillainarchetypesdonot gain agencyintheirdeaths

becausetheyhavedemonstratedagencyintheirlivesTamorapropelstheplotforward

morethan almostany othercharacterThesamecanbesaidofGonerilandReganand

Macbethwouldnever havemurderedthekingifnotfor LadyMacbethrsquosagency For

exampleIfeelfurther compelledtonotethecentralityof LaviniarsquosroleinPaschal

Aebischerrsquos evaluation oftheplay ShecitesldquoTitusrsquoverbal andLaviniarsquosphysical

prominencerdquoclaiming thatLaviniaisas important tothe play asTitus(37)Thisignores

Ganger62

Tamoraas thecatalyst formost oftheactionthroughoutIwouldarguethatiftherewere

anyparallelcharacter to Titusif theplaywas asmuchabout anyonecharacter asitis

aboutTitusitmustbeTamoraThe evilwomenare far from submissivetheyact ontheir

owncompulsionoftencontraryto themensurroundingthemYesthesecharactersare not

nicecharactersbuttheycertainlyhaveagencyDianeElizabethDreherdescribesthese

tragicwomenasldquo[attempting]to outdotheir menin aggressionrdquo (168)Thereseemstobe

anunconsciouscriticaltendency to wantwomentohaveagency butnottoomuchornot

asmuchasmen

EllenTerry believes thatShakespearewas essentiallya feministwhenshediscusses

thewomen fromhiscomedies

Haveyoueverthoughthowmuchwealland womenespeciallyowetoShakespearefor

hisvindicationofwomeninthesefearlesshigh‐spiritedresoluteandintelligent

heroinesDonrsquotbelievetheanti‐feminists iftheytellyouas Iwasoncetoldthat

Shakespearehadtoendowhiswomenwithvirilequalitiesbecauseinhistheatrethey

were alwaysimpersonatedbymenThismay accountfor thefrequencywithwhich

theymasqueradeasboysbutIamconvinced thatithadlittle influenceon

Shakespearersquosstudies ofwomen Theyowe farmoretotheliberalideasaboutthesex

whichwerefermenting inShakespearersquosage Theassumptionthat lsquothewomanrsquos

movementrsquo isofveryrecentdatemdashsomething peculiarlymodernmdashis notwarrantedby

historyThereis evidenceofits existence in thefifteenthcentury(81)

TocreditShakespearewithtooprogressivea viewmight beamistakebecausecertainly

notallofhisplaysportrayfullystrongand independentwomenEvenTerryadmitsthat

Helenain Allrsquos Well that Ends Well and Julia in Two Gentlemen of Verona areldquodoormatsrdquo

Ganger63

(151)Howevermost ofhiswomenareas fullydevelopedandcaredforasmostofhismen

(Ibelievethereare examplesofbothgendersthatstillprove tobefairlyshallowbutthat

mayalsobebecauseIhavenot spentenoughtimemining thosetexts)andthat is certainly

noteworthyIfweseparate thewomenintoourarchetypesShakespearedefinitelygives

evilwomen asmuchagencyandpersonalityastheirgoodcounterpartssomethingthat

evenEllen Terry neglectsInheranalysisof King LearonceagainCordeliaisthesubjectof

in‐depthanalysisandGoneriland Reganaretotallyignored(Terry153‐157)Regardlessof

hispolitical orsocialgoals(ofwhichTerryseemstobereferringwhensheclaimsthatheis

afeminist)thewomenin Titus Andronicus King Learand Macbeth areindividualsthey

arethree‐dimensionalcomplexpeoplewitha great dealof agency

Finallythereisthe issuethatmensimplyarenever victims inthesamewaythat

womenaremdashnotonlyCordeliaand LaviniabutalsomanyofShakespearersquosotherwomen

likeOpheliaJulietDesdemona Cressida and Hermione Whyaretheonlyoutrightvictims

inShakespearersquosplayswomenIs Shakespearecommentinguponwomenrsquosinherent

weaknessHisevilwomenprovecertainlynotWhythenarethe onlywomenwhoresist

victimizationtheevilonesOn onehanditmaybethatShakespeareiscriticizingstrong

womenand punishing hischaractersthatdisplayagencyHoweverthishasalreadybeen

disprovenbyhowmuchsympathyonemayfeelfortheevilwomen whenareaderoractor

realizesthedepthofsufferingtheymayhaveexperiencedthemselves Anotherpossibility

isthatShakespeareis merelyobservinga truthabouttheworldmdashstrongwomenare

vilifiedandwomenonthewhole areoftenthe victimsofabuse toadegree thathistorically

menhavenotbeen

Ganger64

There areseveraldirectionsthisresearchmightleadin thefutureOfcoursefar

morecharacterscouldbestudied thanjusttheonespresentedhereI seethesameparallel

in Romeo and JulietwhereJulietexperiences a traumaonstageandLadyCapulethas

experiencedatrauma offstagebutitwouldbeextreme to call LadyCapuletavillaininthe

samewaythatTamora orGoneril areThesamerelationshipmightbeseenbetween

Opheliaand Gertrude in HamletbutagainwhileGertrudeisvilifiedtoacertainextentshe

ishardlya paralleltoLadyMacbethUsingthetheoryofproximityandtraumabutmoving

awayfromstrict archetypeswouldmakefor a morenuancedindividualanalysisofother

Shakespeareanwomen

Anotherpossibility isthequestion ofwhether thetheory istrueofthemale

characters aswellRichardIIIEdmundandAaron arevillains who explicitlydiscusstheir

pastmistreatment asjustification fortheirwickeddeedsCouldthesamebesaidforIago

thoughenigmaticand baffling in hishatredofOthelloormen likeMacbethorAngelowho

becomevillains throughthecourseoftheplayThenthereare male characters whoarefar

moremorallyambiguouslikeShylockLeontesorOthelloall ofwhomwould makefor

fascinating studiesof traumaOf coursethefactthatmenare not victimsinthesameway

thatwomenare isanotherreason toreconsiderthecharacterarchetypespresentedhere

andinstead tostudyproximity andtraumaasanewwaytothink aboutindividual

characters inShakespearersquosplays

A finalareaofstudythatmay open evenmore insights into thetheory ofproximity

andtraumaaswellas howgender playsintothetheoryis genreSofaronlyShakespearersquos

tragedieshavebeendiscussedbutthetheorymaybesuitableforthe studyofcomediesas

Ganger65

wellSomeofShakespearersquosmost researchedandmostlovedwomencomefromhis

comediesandinterestinglymanyofthemcanfallintothe two categoriesofeither

experiencingatrauma beforetheplayhasbegunorexperiencing a traumaonstage

BeatriceandHeroin Much Ado About Nothingfalltothetwosidesofthespectrum

BeatricewasspurnedbyBenedickwithwhomshehashadarelationshipinthepast

beforetheactionoftheplaybegins HeroisspurnedbyClaudioonstagein frontofthe

audienceMorestrongcomedicfemalecharactershaveexperiencedsomekindof painful

eventbefore theplayhasbegun likeRosalindKatharinaand Helena(Midsummer)though

admittedly the event isalways lessviolentthanthoseseenin thetragediesThe definition

of trauma mayneed tobere‐assessedKatharina in The Taming of the Shrewmayhave

experiencedpaternal neglect toa similardegreeas Goneriland Reganandas a resultsheis

byfarthemostviolentofShakespearersquoscomedicwomenHowever canaromantic

rejectionabrokenheartthemost commontypeofoffstagesuffering inShakespearersquos

comediesbeclassified inthesame category as thesuffering seen in thetragediesmdashwar

rapethedeathofachildThereal comparabilityof these characters wouldneed tobe

addressedifthetheoryofproximityandtraumawasextendedto Shakespearersquos comedies

WhenHaroldBloomwrotethatShakespeare hadinventedthehumanhemeantthat

Shakespearedemonstratedanunparalleledunderstandingofhuman naturethroughthe

creationof hischaractersHoweverheseemstodisplay thisunderstanding equallyinthe

creationof hisaudienceBytheirdistancefromacharacterrsquos traumaticeventShakespeare

manipulatesanaudiencersquosempathyandemotionalinvestmentinthe livesofthecharacters

onstageAn audiencersquos reactionsto Shakespearersquosplaysarenot trulyitsownmdashtheyhave

Ganger66

beenpredeterminedbytheplaywrightHealsoappearsto beahead of his time in his

instinctive understandingof theeffectof traumauponthepsycheNotonlymighttrauma

theorybehelpfulinfuturestudies ofShakespearebutexploringShakespearemight

providefurtherinsight intoliterarytraumatheory

Ganger67

Bibliography

Aebischer Pascale Shakespearersquos Violated Bodies Stage and Screen Performance

Cambridge Cambridge UP2004Print

Anderson Thomas P Performing Early Modern Trauma from Shakespeare to Milton Aldershot

UK Ashgate 2006 E-book

Ben-Ezra Menachem ldquoTraumatic Reactions from Antiquity to the 16th Centuryrdquo Stress and

Health 27 (2011) 223-240 ASP Web 8 Jan 2015

Bloom Harold Shakespeare The Invention of the Human New York Riverhead Books 1998

Print

BraytonDanldquoAngling intheLake ofDarknessPossessionDispossession

andthe PoliticsofDiscovery in King Learrdquo ELH702(2003)399‐426 Project Muse

Web21914

Britton John ldquoAC Bradly and Those Children of Lady Macbethrdquo Shakespeare Quarterly 123

(1961) 349-351 JSTOR Web 8 Jan 2015

Brown John Russell Shakespearersquos Plays in Performance New York St Martinrsquos Press 1966

Print

Burke Kenneth Counter-Statement Berkley and Los Angeles University of California Press

1968 Print

Calef V ldquoLady Macbeth and Infanticide How Many Children Had Lady Macbeth Murderedrdquo

Journal of the American Psychoanalytic Association 172 (1969) 528-548 American

Psychological Association Web 27 Jan 2015

CaruthCathy Unclaimed Experience Trauma Narrative and HistoryBaltimore MDJohns

HopkinsUniversity Press1996Print

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger59

Act5

FinalThoughtsandFutureResearch

Afterinvestigating Titus Andronicus King Lear and Macbethsomefinalthoughtsare

necessarytoprobetherelevance ofthistheoryEvenifitis truethat ldquoevilrdquowomen

experience a traumaoffstage intheirpastand ldquogoodrdquowomenexperienceatraumaonstage

infrontof an audience thequestionremains whetherthisobservationprovides anylarger

significant meaningI believe the theoryprovidesimportantnewinsightintoShakespeare

asaplaywright

Atthecoreofthistheoryis empathyTheaudience experiencesaldquospecialfeeling of

compassionunderstandingandcarerdquoforthosecharactersthat itwitnesses in theirtragic

moments(Eklund29)Amanufacturedempathycanmanipulatethe audience intoa

particularexperience ForexamplejustasbothTamora andLaviniaarevictimsofa

traumaticexperience theyboth dieaviolent deathonstage(Shakespeare 53)However

wherethe audienceweepsforLaviniarsquosdeath itcheers for Tamorarsquos Somemayarguethat

thisispurely becauseLaviniadoes notcommitthekindsof violentdeedsthat Tamora

commitsHowever thispresumptionrequires theaudiencetoforget Laviniarsquosinvolvement

inthegruesomekidnappingandmurderofTamorarsquossonsChiron andDemetriusTitusand

Laviniafeel thatthey arejustified inmurderingtheboysand feedingthemtoTamorain a

piebecausetheyraped andmutilatedLavinia HoweverTamoraalsofeelsjustifiedin

orderingLaviniarsquosrapeasretributionforhersonrsquosdeathOne isconsidered evilandthe

otherjustdespiteboth beingviolentdeedsinthenameofvengeance Theaudiencersquos

empathymustmanipulatehowitbecomesthe judgeandjurytothesecharactersmdashonersquos

deathelicitsdespair andtheotherrsquoscelebrationIn Titus AndronicusShakespearersquos

Ganger60

bloodiestplaytheimpactismade even greaterAsactressKatyStephenspoints outthe

audience actuallyseemedthrilled bytheanticipationofseeing hereatherchildrenBy

manipulatingabondofempathybetweenthe audience and character Shakespeare

predicts and createsthe catharsisintheplayrsquos finaleOfcoursetheaudience feels catharsis

atthedeath ofacharacterinwhomitfeelsinvestedthusLaviniais asacrificialmartyrfor

theaudiencersquostheatricalexperiencewhileTamoraisthe convictattheguillotinekilledfor

theaudiencersquosenjoymentThesamecanbesaidof King LearShakespearemanipulatesthe

audiencersquos experiences byremoving GonerilandReganrsquosbodiesandallowingCordeliarsquos

corpsetotakecenterstagewhichproducesagreatercatharsis

Shakespearersquoscharactersarewrittenas ifthey arerealpeopleandinfacttheyare

ldquorealrdquoifonlyphysicallymdashtheyare atleast embodiedbyrealpeopleHehaswrittenwicked

characters forwhomanaudience perhapsmightstillfeelsympathyByprovidingenough

cluesaboutwhathaswoundedtheseevilwomenintheirpastShakespearemaintains

three‐dimensional nuancedcharacters ratherthanuninterestingcaricatures Trained

actorsprobethetextto minecompellingandsupportedbackstories whichunlockthese

three‐dimensionalcharactersRemembering thatShakespearersquosplayswerefirstperformed

isinvaluabletothestudyofhisplaysandstudentsof Shakespeareshouldassumetherole

ofactortoadegreefeelingfree toimaginativelyfillin the gapsofhis charactersrsquo lives

Hehasalsounlockedanunderstandingof his audiencemdashthatseeingatraumatic

eventdeepensthe audiencersquosempathyforacharacterwhichpromotesgreater catharsis

andentertainmentThereforeit isnrsquotthatthe audiencecreatesldquoevilrdquocharacters inits

perception (thatisadangerousclaimsince TamorarsquosGonerilrsquosReganrsquosandLady

Macbethrsquosactionsareheinousand inexcusable)RatherShakespeareinanother displayof

Ganger61

hisunderstandingofhumannatureusesthetensionofspaceanddistancetocreate

characterstheaudience wouldempathizewith atdifferent levelsmdashvillaincharactersvery

littleandvictimcharactersverymuchEachof thesefactors contributestothetheatrical

experienceHewasinthebusinessofcreatinggoodtheatremdashthree‐dimensionalvillains

makeforbetter theatrethanflatcaricaturesandenhancingcatharsiscreatesa more

intense and therefore moreengrossingandmoreenjoyabletheatreexperience forthe

audienceFurthermoreShakespearedisplays anuncanny understandingofhowtraumatic

experiences mustbewitnessedand sharedinordertoberesolvedinstinctively

demonstratingwhathasonlyrecentlybeenputintowordsbymoderntraumascholars

Shakespearersquosdevice ofhidingeventsandexperiencesoffstage servesasareplicationof

therealworldsituationofrealpeopleneedingawitness

Thequestion ofwhethergenderplaysapartinthistheoryrequires furthercommentas

wellThere issomethingtobesaid forfemaleagencyinanyearlymodernwork Critics

oftendiscussthemartyrarchetypesasgaining agencyin their deathsCaroline Lamb

specificallypointstoLaviniarsquosagencyinherdeathIquestionwhycriticshavegivensuch

littleattentiontothevillains Thevillainarchetypesdonot gain agencyintheirdeaths

becausetheyhavedemonstratedagencyintheirlivesTamorapropelstheplotforward

morethan almostany othercharacterThesamecanbesaidofGonerilandReganand

Macbethwouldnever havemurderedthekingifnotfor LadyMacbethrsquosagency For

exampleIfeelfurther compelledtonotethecentralityof LaviniarsquosroleinPaschal

Aebischerrsquos evaluation oftheplay ShecitesldquoTitusrsquoverbal andLaviniarsquosphysical

prominencerdquoclaiming thatLaviniaisas important tothe play asTitus(37)Thisignores

Ganger62

Tamoraas thecatalyst formost oftheactionthroughoutIwouldarguethatiftherewere

anyparallelcharacter to Titusif theplaywas asmuchabout anyonecharacter asitis

aboutTitusitmustbeTamoraThe evilwomenare far from submissivetheyact ontheir

owncompulsionoftencontraryto themensurroundingthemYesthesecharactersare not

nicecharactersbuttheycertainlyhaveagencyDianeElizabethDreherdescribesthese

tragicwomenasldquo[attempting]to outdotheir menin aggressionrdquo (168)Thereseemstobe

anunconsciouscriticaltendency to wantwomentohaveagency butnottoomuchornot

asmuchasmen

EllenTerry believes thatShakespearewas essentiallya feministwhenshediscusses

thewomen fromhiscomedies

Haveyoueverthoughthowmuchwealland womenespeciallyowetoShakespearefor

hisvindicationofwomeninthesefearlesshigh‐spiritedresoluteandintelligent

heroinesDonrsquotbelievetheanti‐feminists iftheytellyouas Iwasoncetoldthat

Shakespearehadtoendowhiswomenwithvirilequalitiesbecauseinhistheatrethey

were alwaysimpersonatedbymenThismay accountfor thefrequencywithwhich

theymasqueradeasboysbutIamconvinced thatithadlittle influenceon

Shakespearersquosstudies ofwomen Theyowe farmoretotheliberalideasaboutthesex

whichwerefermenting inShakespearersquosage Theassumptionthat lsquothewomanrsquos

movementrsquo isofveryrecentdatemdashsomething peculiarlymodernmdashis notwarrantedby

historyThereis evidenceofits existence in thefifteenthcentury(81)

TocreditShakespearewithtooprogressivea viewmight beamistakebecausecertainly

notallofhisplaysportrayfullystrongand independentwomenEvenTerryadmitsthat

Helenain Allrsquos Well that Ends Well and Julia in Two Gentlemen of Verona areldquodoormatsrdquo

Ganger63

(151)Howevermost ofhiswomenareas fullydevelopedandcaredforasmostofhismen

(Ibelievethereare examplesofbothgendersthatstillprove tobefairlyshallowbutthat

mayalsobebecauseIhavenot spentenoughtimemining thosetexts)andthat is certainly

noteworthyIfweseparate thewomenintoourarchetypesShakespearedefinitelygives

evilwomen asmuchagencyandpersonalityastheirgoodcounterpartssomethingthat

evenEllen Terry neglectsInheranalysisof King LearonceagainCordeliaisthesubjectof

in‐depthanalysisandGoneriland Reganaretotallyignored(Terry153‐157)Regardlessof

hispolitical orsocialgoals(ofwhichTerryseemstobereferringwhensheclaimsthatheis

afeminist)thewomenin Titus Andronicus King Learand Macbeth areindividualsthey

arethree‐dimensionalcomplexpeoplewitha great dealof agency

Finallythereisthe issuethatmensimplyarenever victims inthesamewaythat

womenaremdashnotonlyCordeliaand LaviniabutalsomanyofShakespearersquosotherwomen

likeOpheliaJulietDesdemona Cressida and Hermione Whyaretheonlyoutrightvictims

inShakespearersquosplayswomenIs Shakespearecommentinguponwomenrsquosinherent

weaknessHisevilwomenprovecertainlynotWhythenarethe onlywomenwhoresist

victimizationtheevilonesOn onehanditmaybethatShakespeareiscriticizingstrong

womenand punishing hischaractersthatdisplayagencyHoweverthishasalreadybeen

disprovenbyhowmuchsympathyonemayfeelfortheevilwomen whenareaderoractor

realizesthedepthofsufferingtheymayhaveexperiencedthemselves Anotherpossibility

isthatShakespeareis merelyobservinga truthabouttheworldmdashstrongwomenare

vilifiedandwomenonthewhole areoftenthe victimsofabuse toadegree thathistorically

menhavenotbeen

Ganger64

There areseveraldirectionsthisresearchmightleadin thefutureOfcoursefar

morecharacterscouldbestudied thanjusttheonespresentedhereI seethesameparallel

in Romeo and JulietwhereJulietexperiences a traumaonstageandLadyCapulethas

experiencedatrauma offstagebutitwouldbeextreme to call LadyCapuletavillaininthe

samewaythatTamora orGoneril areThesamerelationshipmightbeseenbetween

Opheliaand Gertrude in HamletbutagainwhileGertrudeisvilifiedtoacertainextentshe

ishardlya paralleltoLadyMacbethUsingthetheoryofproximityandtraumabutmoving

awayfromstrict archetypeswouldmakefor a morenuancedindividualanalysisofother

Shakespeareanwomen

Anotherpossibility isthequestion ofwhether thetheory istrueofthemale

characters aswellRichardIIIEdmundandAaron arevillains who explicitlydiscusstheir

pastmistreatment asjustification fortheirwickeddeedsCouldthesamebesaidforIago

thoughenigmaticand baffling in hishatredofOthelloormen likeMacbethorAngelowho

becomevillains throughthecourseoftheplayThenthereare male characters whoarefar

moremorallyambiguouslikeShylockLeontesorOthelloall ofwhomwould makefor

fascinating studiesof traumaOf coursethefactthatmenare not victimsinthesameway

thatwomenare isanotherreason toreconsiderthecharacterarchetypespresentedhere

andinstead tostudyproximity andtraumaasanewwaytothink aboutindividual

characters inShakespearersquosplays

A finalareaofstudythatmay open evenmore insights into thetheory ofproximity

andtraumaaswellas howgender playsintothetheoryis genreSofaronlyShakespearersquos

tragedieshavebeendiscussedbutthetheorymaybesuitableforthe studyofcomediesas

Ganger65

wellSomeofShakespearersquosmost researchedandmostlovedwomencomefromhis

comediesandinterestinglymanyofthemcanfallintothe two categoriesofeither

experiencingatrauma beforetheplayhasbegunorexperiencing a traumaonstage

BeatriceandHeroin Much Ado About Nothingfalltothetwosidesofthespectrum

BeatricewasspurnedbyBenedickwithwhomshehashadarelationshipinthepast

beforetheactionoftheplaybegins HeroisspurnedbyClaudioonstagein frontofthe

audienceMorestrongcomedicfemalecharactershaveexperiencedsomekindof painful

eventbefore theplayhasbegun likeRosalindKatharinaand Helena(Midsummer)though

admittedly the event isalways lessviolentthanthoseseenin thetragediesThe definition

of trauma mayneed tobere‐assessedKatharina in The Taming of the Shrewmayhave

experiencedpaternal neglect toa similardegreeas Goneriland Reganandas a resultsheis

byfarthemostviolentofShakespearersquoscomedicwomenHowever canaromantic

rejectionabrokenheartthemost commontypeofoffstagesuffering inShakespearersquos

comediesbeclassified inthesame category as thesuffering seen in thetragediesmdashwar

rapethedeathofachildThereal comparabilityof these characters wouldneed tobe

addressedifthetheoryofproximityandtraumawasextendedto Shakespearersquos comedies

WhenHaroldBloomwrotethatShakespeare hadinventedthehumanhemeantthat

Shakespearedemonstratedanunparalleledunderstandingofhuman naturethroughthe

creationof hischaractersHoweverheseemstodisplay thisunderstanding equallyinthe

creationof hisaudienceBytheirdistancefromacharacterrsquos traumaticeventShakespeare

manipulatesanaudiencersquosempathyandemotionalinvestmentinthe livesofthecharacters

onstageAn audiencersquos reactionsto Shakespearersquosplaysarenot trulyitsownmdashtheyhave

Ganger66

beenpredeterminedbytheplaywrightHealsoappearsto beahead of his time in his

instinctive understandingof theeffectof traumauponthepsycheNotonlymighttrauma

theorybehelpfulinfuturestudies ofShakespearebutexploringShakespearemight

providefurtherinsight intoliterarytraumatheory

Ganger67

Bibliography

Aebischer Pascale Shakespearersquos Violated Bodies Stage and Screen Performance

Cambridge Cambridge UP2004Print

Anderson Thomas P Performing Early Modern Trauma from Shakespeare to Milton Aldershot

UK Ashgate 2006 E-book

Ben-Ezra Menachem ldquoTraumatic Reactions from Antiquity to the 16th Centuryrdquo Stress and

Health 27 (2011) 223-240 ASP Web 8 Jan 2015

Bloom Harold Shakespeare The Invention of the Human New York Riverhead Books 1998

Print

BraytonDanldquoAngling intheLake ofDarknessPossessionDispossession

andthe PoliticsofDiscovery in King Learrdquo ELH702(2003)399‐426 Project Muse

Web21914

Britton John ldquoAC Bradly and Those Children of Lady Macbethrdquo Shakespeare Quarterly 123

(1961) 349-351 JSTOR Web 8 Jan 2015

Brown John Russell Shakespearersquos Plays in Performance New York St Martinrsquos Press 1966

Print

Burke Kenneth Counter-Statement Berkley and Los Angeles University of California Press

1968 Print

Calef V ldquoLady Macbeth and Infanticide How Many Children Had Lady Macbeth Murderedrdquo

Journal of the American Psychoanalytic Association 172 (1969) 528-548 American

Psychological Association Web 27 Jan 2015

CaruthCathy Unclaimed Experience Trauma Narrative and HistoryBaltimore MDJohns

HopkinsUniversity Press1996Print

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger60

bloodiestplaytheimpactismade even greaterAsactressKatyStephenspoints outthe

audience actuallyseemedthrilled bytheanticipationofseeing hereatherchildrenBy

manipulatingabondofempathybetweenthe audience and character Shakespeare

predicts and createsthe catharsisintheplayrsquos finaleOfcoursetheaudience feels catharsis

atthedeath ofacharacterinwhomitfeelsinvestedthusLaviniais asacrificialmartyrfor

theaudiencersquostheatricalexperiencewhileTamoraisthe convictattheguillotinekilledfor

theaudiencersquosenjoymentThesamecanbesaidof King LearShakespearemanipulatesthe

audiencersquos experiences byremoving GonerilandReganrsquosbodiesandallowingCordeliarsquos

corpsetotakecenterstagewhichproducesagreatercatharsis

Shakespearersquoscharactersarewrittenas ifthey arerealpeopleandinfacttheyare

ldquorealrdquoifonlyphysicallymdashtheyare atleast embodiedbyrealpeopleHehaswrittenwicked

characters forwhomanaudience perhapsmightstillfeelsympathyByprovidingenough

cluesaboutwhathaswoundedtheseevilwomenintheirpastShakespearemaintains

three‐dimensional nuancedcharacters ratherthanuninterestingcaricatures Trained

actorsprobethetextto minecompellingandsupportedbackstories whichunlockthese

three‐dimensionalcharactersRemembering thatShakespearersquosplayswerefirstperformed

isinvaluabletothestudyofhisplaysandstudentsof Shakespeareshouldassumetherole

ofactortoadegreefeelingfree toimaginativelyfillin the gapsofhis charactersrsquo lives

Hehasalsounlockedanunderstandingof his audiencemdashthatseeingatraumatic

eventdeepensthe audiencersquosempathyforacharacterwhichpromotesgreater catharsis

andentertainmentThereforeit isnrsquotthatthe audiencecreatesldquoevilrdquocharacters inits

perception (thatisadangerousclaimsince TamorarsquosGonerilrsquosReganrsquosandLady

Macbethrsquosactionsareheinousand inexcusable)RatherShakespeareinanother displayof

Ganger61

hisunderstandingofhumannatureusesthetensionofspaceanddistancetocreate

characterstheaudience wouldempathizewith atdifferent levelsmdashvillaincharactersvery

littleandvictimcharactersverymuchEachof thesefactors contributestothetheatrical

experienceHewasinthebusinessofcreatinggoodtheatremdashthree‐dimensionalvillains

makeforbetter theatrethanflatcaricaturesandenhancingcatharsiscreatesa more

intense and therefore moreengrossingandmoreenjoyabletheatreexperience forthe

audienceFurthermoreShakespearedisplays anuncanny understandingofhowtraumatic

experiences mustbewitnessedand sharedinordertoberesolvedinstinctively

demonstratingwhathasonlyrecentlybeenputintowordsbymoderntraumascholars

Shakespearersquosdevice ofhidingeventsandexperiencesoffstage servesasareplicationof

therealworldsituationofrealpeopleneedingawitness

Thequestion ofwhethergenderplaysapartinthistheoryrequires furthercommentas

wellThere issomethingtobesaid forfemaleagencyinanyearlymodernwork Critics

oftendiscussthemartyrarchetypesasgaining agencyin their deathsCaroline Lamb

specificallypointstoLaviniarsquosagencyinherdeathIquestionwhycriticshavegivensuch

littleattentiontothevillains Thevillainarchetypesdonot gain agencyintheirdeaths

becausetheyhavedemonstratedagencyintheirlivesTamorapropelstheplotforward

morethan almostany othercharacterThesamecanbesaidofGonerilandReganand

Macbethwouldnever havemurderedthekingifnotfor LadyMacbethrsquosagency For

exampleIfeelfurther compelledtonotethecentralityof LaviniarsquosroleinPaschal

Aebischerrsquos evaluation oftheplay ShecitesldquoTitusrsquoverbal andLaviniarsquosphysical

prominencerdquoclaiming thatLaviniaisas important tothe play asTitus(37)Thisignores

Ganger62

Tamoraas thecatalyst formost oftheactionthroughoutIwouldarguethatiftherewere

anyparallelcharacter to Titusif theplaywas asmuchabout anyonecharacter asitis

aboutTitusitmustbeTamoraThe evilwomenare far from submissivetheyact ontheir

owncompulsionoftencontraryto themensurroundingthemYesthesecharactersare not

nicecharactersbuttheycertainlyhaveagencyDianeElizabethDreherdescribesthese

tragicwomenasldquo[attempting]to outdotheir menin aggressionrdquo (168)Thereseemstobe

anunconsciouscriticaltendency to wantwomentohaveagency butnottoomuchornot

asmuchasmen

EllenTerry believes thatShakespearewas essentiallya feministwhenshediscusses

thewomen fromhiscomedies

Haveyoueverthoughthowmuchwealland womenespeciallyowetoShakespearefor

hisvindicationofwomeninthesefearlesshigh‐spiritedresoluteandintelligent

heroinesDonrsquotbelievetheanti‐feminists iftheytellyouas Iwasoncetoldthat

Shakespearehadtoendowhiswomenwithvirilequalitiesbecauseinhistheatrethey

were alwaysimpersonatedbymenThismay accountfor thefrequencywithwhich

theymasqueradeasboysbutIamconvinced thatithadlittle influenceon

Shakespearersquosstudies ofwomen Theyowe farmoretotheliberalideasaboutthesex

whichwerefermenting inShakespearersquosage Theassumptionthat lsquothewomanrsquos

movementrsquo isofveryrecentdatemdashsomething peculiarlymodernmdashis notwarrantedby

historyThereis evidenceofits existence in thefifteenthcentury(81)

TocreditShakespearewithtooprogressivea viewmight beamistakebecausecertainly

notallofhisplaysportrayfullystrongand independentwomenEvenTerryadmitsthat

Helenain Allrsquos Well that Ends Well and Julia in Two Gentlemen of Verona areldquodoormatsrdquo

Ganger63

(151)Howevermost ofhiswomenareas fullydevelopedandcaredforasmostofhismen

(Ibelievethereare examplesofbothgendersthatstillprove tobefairlyshallowbutthat

mayalsobebecauseIhavenot spentenoughtimemining thosetexts)andthat is certainly

noteworthyIfweseparate thewomenintoourarchetypesShakespearedefinitelygives

evilwomen asmuchagencyandpersonalityastheirgoodcounterpartssomethingthat

evenEllen Terry neglectsInheranalysisof King LearonceagainCordeliaisthesubjectof

in‐depthanalysisandGoneriland Reganaretotallyignored(Terry153‐157)Regardlessof

hispolitical orsocialgoals(ofwhichTerryseemstobereferringwhensheclaimsthatheis

afeminist)thewomenin Titus Andronicus King Learand Macbeth areindividualsthey

arethree‐dimensionalcomplexpeoplewitha great dealof agency

Finallythereisthe issuethatmensimplyarenever victims inthesamewaythat

womenaremdashnotonlyCordeliaand LaviniabutalsomanyofShakespearersquosotherwomen

likeOpheliaJulietDesdemona Cressida and Hermione Whyaretheonlyoutrightvictims

inShakespearersquosplayswomenIs Shakespearecommentinguponwomenrsquosinherent

weaknessHisevilwomenprovecertainlynotWhythenarethe onlywomenwhoresist

victimizationtheevilonesOn onehanditmaybethatShakespeareiscriticizingstrong

womenand punishing hischaractersthatdisplayagencyHoweverthishasalreadybeen

disprovenbyhowmuchsympathyonemayfeelfortheevilwomen whenareaderoractor

realizesthedepthofsufferingtheymayhaveexperiencedthemselves Anotherpossibility

isthatShakespeareis merelyobservinga truthabouttheworldmdashstrongwomenare

vilifiedandwomenonthewhole areoftenthe victimsofabuse toadegree thathistorically

menhavenotbeen

Ganger64

There areseveraldirectionsthisresearchmightleadin thefutureOfcoursefar

morecharacterscouldbestudied thanjusttheonespresentedhereI seethesameparallel

in Romeo and JulietwhereJulietexperiences a traumaonstageandLadyCapulethas

experiencedatrauma offstagebutitwouldbeextreme to call LadyCapuletavillaininthe

samewaythatTamora orGoneril areThesamerelationshipmightbeseenbetween

Opheliaand Gertrude in HamletbutagainwhileGertrudeisvilifiedtoacertainextentshe

ishardlya paralleltoLadyMacbethUsingthetheoryofproximityandtraumabutmoving

awayfromstrict archetypeswouldmakefor a morenuancedindividualanalysisofother

Shakespeareanwomen

Anotherpossibility isthequestion ofwhether thetheory istrueofthemale

characters aswellRichardIIIEdmundandAaron arevillains who explicitlydiscusstheir

pastmistreatment asjustification fortheirwickeddeedsCouldthesamebesaidforIago

thoughenigmaticand baffling in hishatredofOthelloormen likeMacbethorAngelowho

becomevillains throughthecourseoftheplayThenthereare male characters whoarefar

moremorallyambiguouslikeShylockLeontesorOthelloall ofwhomwould makefor

fascinating studiesof traumaOf coursethefactthatmenare not victimsinthesameway

thatwomenare isanotherreason toreconsiderthecharacterarchetypespresentedhere

andinstead tostudyproximity andtraumaasanewwaytothink aboutindividual

characters inShakespearersquosplays

A finalareaofstudythatmay open evenmore insights into thetheory ofproximity

andtraumaaswellas howgender playsintothetheoryis genreSofaronlyShakespearersquos

tragedieshavebeendiscussedbutthetheorymaybesuitableforthe studyofcomediesas

Ganger65

wellSomeofShakespearersquosmost researchedandmostlovedwomencomefromhis

comediesandinterestinglymanyofthemcanfallintothe two categoriesofeither

experiencingatrauma beforetheplayhasbegunorexperiencing a traumaonstage

BeatriceandHeroin Much Ado About Nothingfalltothetwosidesofthespectrum

BeatricewasspurnedbyBenedickwithwhomshehashadarelationshipinthepast

beforetheactionoftheplaybegins HeroisspurnedbyClaudioonstagein frontofthe

audienceMorestrongcomedicfemalecharactershaveexperiencedsomekindof painful

eventbefore theplayhasbegun likeRosalindKatharinaand Helena(Midsummer)though

admittedly the event isalways lessviolentthanthoseseenin thetragediesThe definition

of trauma mayneed tobere‐assessedKatharina in The Taming of the Shrewmayhave

experiencedpaternal neglect toa similardegreeas Goneriland Reganandas a resultsheis

byfarthemostviolentofShakespearersquoscomedicwomenHowever canaromantic

rejectionabrokenheartthemost commontypeofoffstagesuffering inShakespearersquos

comediesbeclassified inthesame category as thesuffering seen in thetragediesmdashwar

rapethedeathofachildThereal comparabilityof these characters wouldneed tobe

addressedifthetheoryofproximityandtraumawasextendedto Shakespearersquos comedies

WhenHaroldBloomwrotethatShakespeare hadinventedthehumanhemeantthat

Shakespearedemonstratedanunparalleledunderstandingofhuman naturethroughthe

creationof hischaractersHoweverheseemstodisplay thisunderstanding equallyinthe

creationof hisaudienceBytheirdistancefromacharacterrsquos traumaticeventShakespeare

manipulatesanaudiencersquosempathyandemotionalinvestmentinthe livesofthecharacters

onstageAn audiencersquos reactionsto Shakespearersquosplaysarenot trulyitsownmdashtheyhave

Ganger66

beenpredeterminedbytheplaywrightHealsoappearsto beahead of his time in his

instinctive understandingof theeffectof traumauponthepsycheNotonlymighttrauma

theorybehelpfulinfuturestudies ofShakespearebutexploringShakespearemight

providefurtherinsight intoliterarytraumatheory

Ganger67

Bibliography

Aebischer Pascale Shakespearersquos Violated Bodies Stage and Screen Performance

Cambridge Cambridge UP2004Print

Anderson Thomas P Performing Early Modern Trauma from Shakespeare to Milton Aldershot

UK Ashgate 2006 E-book

Ben-Ezra Menachem ldquoTraumatic Reactions from Antiquity to the 16th Centuryrdquo Stress and

Health 27 (2011) 223-240 ASP Web 8 Jan 2015

Bloom Harold Shakespeare The Invention of the Human New York Riverhead Books 1998

Print

BraytonDanldquoAngling intheLake ofDarknessPossessionDispossession

andthe PoliticsofDiscovery in King Learrdquo ELH702(2003)399‐426 Project Muse

Web21914

Britton John ldquoAC Bradly and Those Children of Lady Macbethrdquo Shakespeare Quarterly 123

(1961) 349-351 JSTOR Web 8 Jan 2015

Brown John Russell Shakespearersquos Plays in Performance New York St Martinrsquos Press 1966

Print

Burke Kenneth Counter-Statement Berkley and Los Angeles University of California Press

1968 Print

Calef V ldquoLady Macbeth and Infanticide How Many Children Had Lady Macbeth Murderedrdquo

Journal of the American Psychoanalytic Association 172 (1969) 528-548 American

Psychological Association Web 27 Jan 2015

CaruthCathy Unclaimed Experience Trauma Narrative and HistoryBaltimore MDJohns

HopkinsUniversity Press1996Print

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger61

hisunderstandingofhumannatureusesthetensionofspaceanddistancetocreate

characterstheaudience wouldempathizewith atdifferent levelsmdashvillaincharactersvery

littleandvictimcharactersverymuchEachof thesefactors contributestothetheatrical

experienceHewasinthebusinessofcreatinggoodtheatremdashthree‐dimensionalvillains

makeforbetter theatrethanflatcaricaturesandenhancingcatharsiscreatesa more

intense and therefore moreengrossingandmoreenjoyabletheatreexperience forthe

audienceFurthermoreShakespearedisplays anuncanny understandingofhowtraumatic

experiences mustbewitnessedand sharedinordertoberesolvedinstinctively

demonstratingwhathasonlyrecentlybeenputintowordsbymoderntraumascholars

Shakespearersquosdevice ofhidingeventsandexperiencesoffstage servesasareplicationof

therealworldsituationofrealpeopleneedingawitness

Thequestion ofwhethergenderplaysapartinthistheoryrequires furthercommentas

wellThere issomethingtobesaid forfemaleagencyinanyearlymodernwork Critics

oftendiscussthemartyrarchetypesasgaining agencyin their deathsCaroline Lamb

specificallypointstoLaviniarsquosagencyinherdeathIquestionwhycriticshavegivensuch

littleattentiontothevillains Thevillainarchetypesdonot gain agencyintheirdeaths

becausetheyhavedemonstratedagencyintheirlivesTamorapropelstheplotforward

morethan almostany othercharacterThesamecanbesaidofGonerilandReganand

Macbethwouldnever havemurderedthekingifnotfor LadyMacbethrsquosagency For

exampleIfeelfurther compelledtonotethecentralityof LaviniarsquosroleinPaschal

Aebischerrsquos evaluation oftheplay ShecitesldquoTitusrsquoverbal andLaviniarsquosphysical

prominencerdquoclaiming thatLaviniaisas important tothe play asTitus(37)Thisignores

Ganger62

Tamoraas thecatalyst formost oftheactionthroughoutIwouldarguethatiftherewere

anyparallelcharacter to Titusif theplaywas asmuchabout anyonecharacter asitis

aboutTitusitmustbeTamoraThe evilwomenare far from submissivetheyact ontheir

owncompulsionoftencontraryto themensurroundingthemYesthesecharactersare not

nicecharactersbuttheycertainlyhaveagencyDianeElizabethDreherdescribesthese

tragicwomenasldquo[attempting]to outdotheir menin aggressionrdquo (168)Thereseemstobe

anunconsciouscriticaltendency to wantwomentohaveagency butnottoomuchornot

asmuchasmen

EllenTerry believes thatShakespearewas essentiallya feministwhenshediscusses

thewomen fromhiscomedies

Haveyoueverthoughthowmuchwealland womenespeciallyowetoShakespearefor

hisvindicationofwomeninthesefearlesshigh‐spiritedresoluteandintelligent

heroinesDonrsquotbelievetheanti‐feminists iftheytellyouas Iwasoncetoldthat

Shakespearehadtoendowhiswomenwithvirilequalitiesbecauseinhistheatrethey

were alwaysimpersonatedbymenThismay accountfor thefrequencywithwhich

theymasqueradeasboysbutIamconvinced thatithadlittle influenceon

Shakespearersquosstudies ofwomen Theyowe farmoretotheliberalideasaboutthesex

whichwerefermenting inShakespearersquosage Theassumptionthat lsquothewomanrsquos

movementrsquo isofveryrecentdatemdashsomething peculiarlymodernmdashis notwarrantedby

historyThereis evidenceofits existence in thefifteenthcentury(81)

TocreditShakespearewithtooprogressivea viewmight beamistakebecausecertainly

notallofhisplaysportrayfullystrongand independentwomenEvenTerryadmitsthat

Helenain Allrsquos Well that Ends Well and Julia in Two Gentlemen of Verona areldquodoormatsrdquo

Ganger63

(151)Howevermost ofhiswomenareas fullydevelopedandcaredforasmostofhismen

(Ibelievethereare examplesofbothgendersthatstillprove tobefairlyshallowbutthat

mayalsobebecauseIhavenot spentenoughtimemining thosetexts)andthat is certainly

noteworthyIfweseparate thewomenintoourarchetypesShakespearedefinitelygives

evilwomen asmuchagencyandpersonalityastheirgoodcounterpartssomethingthat

evenEllen Terry neglectsInheranalysisof King LearonceagainCordeliaisthesubjectof

in‐depthanalysisandGoneriland Reganaretotallyignored(Terry153‐157)Regardlessof

hispolitical orsocialgoals(ofwhichTerryseemstobereferringwhensheclaimsthatheis

afeminist)thewomenin Titus Andronicus King Learand Macbeth areindividualsthey

arethree‐dimensionalcomplexpeoplewitha great dealof agency

Finallythereisthe issuethatmensimplyarenever victims inthesamewaythat

womenaremdashnotonlyCordeliaand LaviniabutalsomanyofShakespearersquosotherwomen

likeOpheliaJulietDesdemona Cressida and Hermione Whyaretheonlyoutrightvictims

inShakespearersquosplayswomenIs Shakespearecommentinguponwomenrsquosinherent

weaknessHisevilwomenprovecertainlynotWhythenarethe onlywomenwhoresist

victimizationtheevilonesOn onehanditmaybethatShakespeareiscriticizingstrong

womenand punishing hischaractersthatdisplayagencyHoweverthishasalreadybeen

disprovenbyhowmuchsympathyonemayfeelfortheevilwomen whenareaderoractor

realizesthedepthofsufferingtheymayhaveexperiencedthemselves Anotherpossibility

isthatShakespeareis merelyobservinga truthabouttheworldmdashstrongwomenare

vilifiedandwomenonthewhole areoftenthe victimsofabuse toadegree thathistorically

menhavenotbeen

Ganger64

There areseveraldirectionsthisresearchmightleadin thefutureOfcoursefar

morecharacterscouldbestudied thanjusttheonespresentedhereI seethesameparallel

in Romeo and JulietwhereJulietexperiences a traumaonstageandLadyCapulethas

experiencedatrauma offstagebutitwouldbeextreme to call LadyCapuletavillaininthe

samewaythatTamora orGoneril areThesamerelationshipmightbeseenbetween

Opheliaand Gertrude in HamletbutagainwhileGertrudeisvilifiedtoacertainextentshe

ishardlya paralleltoLadyMacbethUsingthetheoryofproximityandtraumabutmoving

awayfromstrict archetypeswouldmakefor a morenuancedindividualanalysisofother

Shakespeareanwomen

Anotherpossibility isthequestion ofwhether thetheory istrueofthemale

characters aswellRichardIIIEdmundandAaron arevillains who explicitlydiscusstheir

pastmistreatment asjustification fortheirwickeddeedsCouldthesamebesaidforIago

thoughenigmaticand baffling in hishatredofOthelloormen likeMacbethorAngelowho

becomevillains throughthecourseoftheplayThenthereare male characters whoarefar

moremorallyambiguouslikeShylockLeontesorOthelloall ofwhomwould makefor

fascinating studiesof traumaOf coursethefactthatmenare not victimsinthesameway

thatwomenare isanotherreason toreconsiderthecharacterarchetypespresentedhere

andinstead tostudyproximity andtraumaasanewwaytothink aboutindividual

characters inShakespearersquosplays

A finalareaofstudythatmay open evenmore insights into thetheory ofproximity

andtraumaaswellas howgender playsintothetheoryis genreSofaronlyShakespearersquos

tragedieshavebeendiscussedbutthetheorymaybesuitableforthe studyofcomediesas

Ganger65

wellSomeofShakespearersquosmost researchedandmostlovedwomencomefromhis

comediesandinterestinglymanyofthemcanfallintothe two categoriesofeither

experiencingatrauma beforetheplayhasbegunorexperiencing a traumaonstage

BeatriceandHeroin Much Ado About Nothingfalltothetwosidesofthespectrum

BeatricewasspurnedbyBenedickwithwhomshehashadarelationshipinthepast

beforetheactionoftheplaybegins HeroisspurnedbyClaudioonstagein frontofthe

audienceMorestrongcomedicfemalecharactershaveexperiencedsomekindof painful

eventbefore theplayhasbegun likeRosalindKatharinaand Helena(Midsummer)though

admittedly the event isalways lessviolentthanthoseseenin thetragediesThe definition

of trauma mayneed tobere‐assessedKatharina in The Taming of the Shrewmayhave

experiencedpaternal neglect toa similardegreeas Goneriland Reganandas a resultsheis

byfarthemostviolentofShakespearersquoscomedicwomenHowever canaromantic

rejectionabrokenheartthemost commontypeofoffstagesuffering inShakespearersquos

comediesbeclassified inthesame category as thesuffering seen in thetragediesmdashwar

rapethedeathofachildThereal comparabilityof these characters wouldneed tobe

addressedifthetheoryofproximityandtraumawasextendedto Shakespearersquos comedies

WhenHaroldBloomwrotethatShakespeare hadinventedthehumanhemeantthat

Shakespearedemonstratedanunparalleledunderstandingofhuman naturethroughthe

creationof hischaractersHoweverheseemstodisplay thisunderstanding equallyinthe

creationof hisaudienceBytheirdistancefromacharacterrsquos traumaticeventShakespeare

manipulatesanaudiencersquosempathyandemotionalinvestmentinthe livesofthecharacters

onstageAn audiencersquos reactionsto Shakespearersquosplaysarenot trulyitsownmdashtheyhave

Ganger66

beenpredeterminedbytheplaywrightHealsoappearsto beahead of his time in his

instinctive understandingof theeffectof traumauponthepsycheNotonlymighttrauma

theorybehelpfulinfuturestudies ofShakespearebutexploringShakespearemight

providefurtherinsight intoliterarytraumatheory

Ganger67

Bibliography

Aebischer Pascale Shakespearersquos Violated Bodies Stage and Screen Performance

Cambridge Cambridge UP2004Print

Anderson Thomas P Performing Early Modern Trauma from Shakespeare to Milton Aldershot

UK Ashgate 2006 E-book

Ben-Ezra Menachem ldquoTraumatic Reactions from Antiquity to the 16th Centuryrdquo Stress and

Health 27 (2011) 223-240 ASP Web 8 Jan 2015

Bloom Harold Shakespeare The Invention of the Human New York Riverhead Books 1998

Print

BraytonDanldquoAngling intheLake ofDarknessPossessionDispossession

andthe PoliticsofDiscovery in King Learrdquo ELH702(2003)399‐426 Project Muse

Web21914

Britton John ldquoAC Bradly and Those Children of Lady Macbethrdquo Shakespeare Quarterly 123

(1961) 349-351 JSTOR Web 8 Jan 2015

Brown John Russell Shakespearersquos Plays in Performance New York St Martinrsquos Press 1966

Print

Burke Kenneth Counter-Statement Berkley and Los Angeles University of California Press

1968 Print

Calef V ldquoLady Macbeth and Infanticide How Many Children Had Lady Macbeth Murderedrdquo

Journal of the American Psychoanalytic Association 172 (1969) 528-548 American

Psychological Association Web 27 Jan 2015

CaruthCathy Unclaimed Experience Trauma Narrative and HistoryBaltimore MDJohns

HopkinsUniversity Press1996Print

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger62

Tamoraas thecatalyst formost oftheactionthroughoutIwouldarguethatiftherewere

anyparallelcharacter to Titusif theplaywas asmuchabout anyonecharacter asitis

aboutTitusitmustbeTamoraThe evilwomenare far from submissivetheyact ontheir

owncompulsionoftencontraryto themensurroundingthemYesthesecharactersare not

nicecharactersbuttheycertainlyhaveagencyDianeElizabethDreherdescribesthese

tragicwomenasldquo[attempting]to outdotheir menin aggressionrdquo (168)Thereseemstobe

anunconsciouscriticaltendency to wantwomentohaveagency butnottoomuchornot

asmuchasmen

EllenTerry believes thatShakespearewas essentiallya feministwhenshediscusses

thewomen fromhiscomedies

Haveyoueverthoughthowmuchwealland womenespeciallyowetoShakespearefor

hisvindicationofwomeninthesefearlesshigh‐spiritedresoluteandintelligent

heroinesDonrsquotbelievetheanti‐feminists iftheytellyouas Iwasoncetoldthat

Shakespearehadtoendowhiswomenwithvirilequalitiesbecauseinhistheatrethey

were alwaysimpersonatedbymenThismay accountfor thefrequencywithwhich

theymasqueradeasboysbutIamconvinced thatithadlittle influenceon

Shakespearersquosstudies ofwomen Theyowe farmoretotheliberalideasaboutthesex

whichwerefermenting inShakespearersquosage Theassumptionthat lsquothewomanrsquos

movementrsquo isofveryrecentdatemdashsomething peculiarlymodernmdashis notwarrantedby

historyThereis evidenceofits existence in thefifteenthcentury(81)

TocreditShakespearewithtooprogressivea viewmight beamistakebecausecertainly

notallofhisplaysportrayfullystrongand independentwomenEvenTerryadmitsthat

Helenain Allrsquos Well that Ends Well and Julia in Two Gentlemen of Verona areldquodoormatsrdquo

Ganger63

(151)Howevermost ofhiswomenareas fullydevelopedandcaredforasmostofhismen

(Ibelievethereare examplesofbothgendersthatstillprove tobefairlyshallowbutthat

mayalsobebecauseIhavenot spentenoughtimemining thosetexts)andthat is certainly

noteworthyIfweseparate thewomenintoourarchetypesShakespearedefinitelygives

evilwomen asmuchagencyandpersonalityastheirgoodcounterpartssomethingthat

evenEllen Terry neglectsInheranalysisof King LearonceagainCordeliaisthesubjectof

in‐depthanalysisandGoneriland Reganaretotallyignored(Terry153‐157)Regardlessof

hispolitical orsocialgoals(ofwhichTerryseemstobereferringwhensheclaimsthatheis

afeminist)thewomenin Titus Andronicus King Learand Macbeth areindividualsthey

arethree‐dimensionalcomplexpeoplewitha great dealof agency

Finallythereisthe issuethatmensimplyarenever victims inthesamewaythat

womenaremdashnotonlyCordeliaand LaviniabutalsomanyofShakespearersquosotherwomen

likeOpheliaJulietDesdemona Cressida and Hermione Whyaretheonlyoutrightvictims

inShakespearersquosplayswomenIs Shakespearecommentinguponwomenrsquosinherent

weaknessHisevilwomenprovecertainlynotWhythenarethe onlywomenwhoresist

victimizationtheevilonesOn onehanditmaybethatShakespeareiscriticizingstrong

womenand punishing hischaractersthatdisplayagencyHoweverthishasalreadybeen

disprovenbyhowmuchsympathyonemayfeelfortheevilwomen whenareaderoractor

realizesthedepthofsufferingtheymayhaveexperiencedthemselves Anotherpossibility

isthatShakespeareis merelyobservinga truthabouttheworldmdashstrongwomenare

vilifiedandwomenonthewhole areoftenthe victimsofabuse toadegree thathistorically

menhavenotbeen

Ganger64

There areseveraldirectionsthisresearchmightleadin thefutureOfcoursefar

morecharacterscouldbestudied thanjusttheonespresentedhereI seethesameparallel

in Romeo and JulietwhereJulietexperiences a traumaonstageandLadyCapulethas

experiencedatrauma offstagebutitwouldbeextreme to call LadyCapuletavillaininthe

samewaythatTamora orGoneril areThesamerelationshipmightbeseenbetween

Opheliaand Gertrude in HamletbutagainwhileGertrudeisvilifiedtoacertainextentshe

ishardlya paralleltoLadyMacbethUsingthetheoryofproximityandtraumabutmoving

awayfromstrict archetypeswouldmakefor a morenuancedindividualanalysisofother

Shakespeareanwomen

Anotherpossibility isthequestion ofwhether thetheory istrueofthemale

characters aswellRichardIIIEdmundandAaron arevillains who explicitlydiscusstheir

pastmistreatment asjustification fortheirwickeddeedsCouldthesamebesaidforIago

thoughenigmaticand baffling in hishatredofOthelloormen likeMacbethorAngelowho

becomevillains throughthecourseoftheplayThenthereare male characters whoarefar

moremorallyambiguouslikeShylockLeontesorOthelloall ofwhomwould makefor

fascinating studiesof traumaOf coursethefactthatmenare not victimsinthesameway

thatwomenare isanotherreason toreconsiderthecharacterarchetypespresentedhere

andinstead tostudyproximity andtraumaasanewwaytothink aboutindividual

characters inShakespearersquosplays

A finalareaofstudythatmay open evenmore insights into thetheory ofproximity

andtraumaaswellas howgender playsintothetheoryis genreSofaronlyShakespearersquos

tragedieshavebeendiscussedbutthetheorymaybesuitableforthe studyofcomediesas

Ganger65

wellSomeofShakespearersquosmost researchedandmostlovedwomencomefromhis

comediesandinterestinglymanyofthemcanfallintothe two categoriesofeither

experiencingatrauma beforetheplayhasbegunorexperiencing a traumaonstage

BeatriceandHeroin Much Ado About Nothingfalltothetwosidesofthespectrum

BeatricewasspurnedbyBenedickwithwhomshehashadarelationshipinthepast

beforetheactionoftheplaybegins HeroisspurnedbyClaudioonstagein frontofthe

audienceMorestrongcomedicfemalecharactershaveexperiencedsomekindof painful

eventbefore theplayhasbegun likeRosalindKatharinaand Helena(Midsummer)though

admittedly the event isalways lessviolentthanthoseseenin thetragediesThe definition

of trauma mayneed tobere‐assessedKatharina in The Taming of the Shrewmayhave

experiencedpaternal neglect toa similardegreeas Goneriland Reganandas a resultsheis

byfarthemostviolentofShakespearersquoscomedicwomenHowever canaromantic

rejectionabrokenheartthemost commontypeofoffstagesuffering inShakespearersquos

comediesbeclassified inthesame category as thesuffering seen in thetragediesmdashwar

rapethedeathofachildThereal comparabilityof these characters wouldneed tobe

addressedifthetheoryofproximityandtraumawasextendedto Shakespearersquos comedies

WhenHaroldBloomwrotethatShakespeare hadinventedthehumanhemeantthat

Shakespearedemonstratedanunparalleledunderstandingofhuman naturethroughthe

creationof hischaractersHoweverheseemstodisplay thisunderstanding equallyinthe

creationof hisaudienceBytheirdistancefromacharacterrsquos traumaticeventShakespeare

manipulatesanaudiencersquosempathyandemotionalinvestmentinthe livesofthecharacters

onstageAn audiencersquos reactionsto Shakespearersquosplaysarenot trulyitsownmdashtheyhave

Ganger66

beenpredeterminedbytheplaywrightHealsoappearsto beahead of his time in his

instinctive understandingof theeffectof traumauponthepsycheNotonlymighttrauma

theorybehelpfulinfuturestudies ofShakespearebutexploringShakespearemight

providefurtherinsight intoliterarytraumatheory

Ganger67

Bibliography

Aebischer Pascale Shakespearersquos Violated Bodies Stage and Screen Performance

Cambridge Cambridge UP2004Print

Anderson Thomas P Performing Early Modern Trauma from Shakespeare to Milton Aldershot

UK Ashgate 2006 E-book

Ben-Ezra Menachem ldquoTraumatic Reactions from Antiquity to the 16th Centuryrdquo Stress and

Health 27 (2011) 223-240 ASP Web 8 Jan 2015

Bloom Harold Shakespeare The Invention of the Human New York Riverhead Books 1998

Print

BraytonDanldquoAngling intheLake ofDarknessPossessionDispossession

andthe PoliticsofDiscovery in King Learrdquo ELH702(2003)399‐426 Project Muse

Web21914

Britton John ldquoAC Bradly and Those Children of Lady Macbethrdquo Shakespeare Quarterly 123

(1961) 349-351 JSTOR Web 8 Jan 2015

Brown John Russell Shakespearersquos Plays in Performance New York St Martinrsquos Press 1966

Print

Burke Kenneth Counter-Statement Berkley and Los Angeles University of California Press

1968 Print

Calef V ldquoLady Macbeth and Infanticide How Many Children Had Lady Macbeth Murderedrdquo

Journal of the American Psychoanalytic Association 172 (1969) 528-548 American

Psychological Association Web 27 Jan 2015

CaruthCathy Unclaimed Experience Trauma Narrative and HistoryBaltimore MDJohns

HopkinsUniversity Press1996Print

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger63

(151)Howevermost ofhiswomenareas fullydevelopedandcaredforasmostofhismen

(Ibelievethereare examplesofbothgendersthatstillprove tobefairlyshallowbutthat

mayalsobebecauseIhavenot spentenoughtimemining thosetexts)andthat is certainly

noteworthyIfweseparate thewomenintoourarchetypesShakespearedefinitelygives

evilwomen asmuchagencyandpersonalityastheirgoodcounterpartssomethingthat

evenEllen Terry neglectsInheranalysisof King LearonceagainCordeliaisthesubjectof

in‐depthanalysisandGoneriland Reganaretotallyignored(Terry153‐157)Regardlessof

hispolitical orsocialgoals(ofwhichTerryseemstobereferringwhensheclaimsthatheis

afeminist)thewomenin Titus Andronicus King Learand Macbeth areindividualsthey

arethree‐dimensionalcomplexpeoplewitha great dealof agency

Finallythereisthe issuethatmensimplyarenever victims inthesamewaythat

womenaremdashnotonlyCordeliaand LaviniabutalsomanyofShakespearersquosotherwomen

likeOpheliaJulietDesdemona Cressida and Hermione Whyaretheonlyoutrightvictims

inShakespearersquosplayswomenIs Shakespearecommentinguponwomenrsquosinherent

weaknessHisevilwomenprovecertainlynotWhythenarethe onlywomenwhoresist

victimizationtheevilonesOn onehanditmaybethatShakespeareiscriticizingstrong

womenand punishing hischaractersthatdisplayagencyHoweverthishasalreadybeen

disprovenbyhowmuchsympathyonemayfeelfortheevilwomen whenareaderoractor

realizesthedepthofsufferingtheymayhaveexperiencedthemselves Anotherpossibility

isthatShakespeareis merelyobservinga truthabouttheworldmdashstrongwomenare

vilifiedandwomenonthewhole areoftenthe victimsofabuse toadegree thathistorically

menhavenotbeen

Ganger64

There areseveraldirectionsthisresearchmightleadin thefutureOfcoursefar

morecharacterscouldbestudied thanjusttheonespresentedhereI seethesameparallel

in Romeo and JulietwhereJulietexperiences a traumaonstageandLadyCapulethas

experiencedatrauma offstagebutitwouldbeextreme to call LadyCapuletavillaininthe

samewaythatTamora orGoneril areThesamerelationshipmightbeseenbetween

Opheliaand Gertrude in HamletbutagainwhileGertrudeisvilifiedtoacertainextentshe

ishardlya paralleltoLadyMacbethUsingthetheoryofproximityandtraumabutmoving

awayfromstrict archetypeswouldmakefor a morenuancedindividualanalysisofother

Shakespeareanwomen

Anotherpossibility isthequestion ofwhether thetheory istrueofthemale

characters aswellRichardIIIEdmundandAaron arevillains who explicitlydiscusstheir

pastmistreatment asjustification fortheirwickeddeedsCouldthesamebesaidforIago

thoughenigmaticand baffling in hishatredofOthelloormen likeMacbethorAngelowho

becomevillains throughthecourseoftheplayThenthereare male characters whoarefar

moremorallyambiguouslikeShylockLeontesorOthelloall ofwhomwould makefor

fascinating studiesof traumaOf coursethefactthatmenare not victimsinthesameway

thatwomenare isanotherreason toreconsiderthecharacterarchetypespresentedhere

andinstead tostudyproximity andtraumaasanewwaytothink aboutindividual

characters inShakespearersquosplays

A finalareaofstudythatmay open evenmore insights into thetheory ofproximity

andtraumaaswellas howgender playsintothetheoryis genreSofaronlyShakespearersquos

tragedieshavebeendiscussedbutthetheorymaybesuitableforthe studyofcomediesas

Ganger65

wellSomeofShakespearersquosmost researchedandmostlovedwomencomefromhis

comediesandinterestinglymanyofthemcanfallintothe two categoriesofeither

experiencingatrauma beforetheplayhasbegunorexperiencing a traumaonstage

BeatriceandHeroin Much Ado About Nothingfalltothetwosidesofthespectrum

BeatricewasspurnedbyBenedickwithwhomshehashadarelationshipinthepast

beforetheactionoftheplaybegins HeroisspurnedbyClaudioonstagein frontofthe

audienceMorestrongcomedicfemalecharactershaveexperiencedsomekindof painful

eventbefore theplayhasbegun likeRosalindKatharinaand Helena(Midsummer)though

admittedly the event isalways lessviolentthanthoseseenin thetragediesThe definition

of trauma mayneed tobere‐assessedKatharina in The Taming of the Shrewmayhave

experiencedpaternal neglect toa similardegreeas Goneriland Reganandas a resultsheis

byfarthemostviolentofShakespearersquoscomedicwomenHowever canaromantic

rejectionabrokenheartthemost commontypeofoffstagesuffering inShakespearersquos

comediesbeclassified inthesame category as thesuffering seen in thetragediesmdashwar

rapethedeathofachildThereal comparabilityof these characters wouldneed tobe

addressedifthetheoryofproximityandtraumawasextendedto Shakespearersquos comedies

WhenHaroldBloomwrotethatShakespeare hadinventedthehumanhemeantthat

Shakespearedemonstratedanunparalleledunderstandingofhuman naturethroughthe

creationof hischaractersHoweverheseemstodisplay thisunderstanding equallyinthe

creationof hisaudienceBytheirdistancefromacharacterrsquos traumaticeventShakespeare

manipulatesanaudiencersquosempathyandemotionalinvestmentinthe livesofthecharacters

onstageAn audiencersquos reactionsto Shakespearersquosplaysarenot trulyitsownmdashtheyhave

Ganger66

beenpredeterminedbytheplaywrightHealsoappearsto beahead of his time in his

instinctive understandingof theeffectof traumauponthepsycheNotonlymighttrauma

theorybehelpfulinfuturestudies ofShakespearebutexploringShakespearemight

providefurtherinsight intoliterarytraumatheory

Ganger67

Bibliography

Aebischer Pascale Shakespearersquos Violated Bodies Stage and Screen Performance

Cambridge Cambridge UP2004Print

Anderson Thomas P Performing Early Modern Trauma from Shakespeare to Milton Aldershot

UK Ashgate 2006 E-book

Ben-Ezra Menachem ldquoTraumatic Reactions from Antiquity to the 16th Centuryrdquo Stress and

Health 27 (2011) 223-240 ASP Web 8 Jan 2015

Bloom Harold Shakespeare The Invention of the Human New York Riverhead Books 1998

Print

BraytonDanldquoAngling intheLake ofDarknessPossessionDispossession

andthe PoliticsofDiscovery in King Learrdquo ELH702(2003)399‐426 Project Muse

Web21914

Britton John ldquoAC Bradly and Those Children of Lady Macbethrdquo Shakespeare Quarterly 123

(1961) 349-351 JSTOR Web 8 Jan 2015

Brown John Russell Shakespearersquos Plays in Performance New York St Martinrsquos Press 1966

Print

Burke Kenneth Counter-Statement Berkley and Los Angeles University of California Press

1968 Print

Calef V ldquoLady Macbeth and Infanticide How Many Children Had Lady Macbeth Murderedrdquo

Journal of the American Psychoanalytic Association 172 (1969) 528-548 American

Psychological Association Web 27 Jan 2015

CaruthCathy Unclaimed Experience Trauma Narrative and HistoryBaltimore MDJohns

HopkinsUniversity Press1996Print

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger64

There areseveraldirectionsthisresearchmightleadin thefutureOfcoursefar

morecharacterscouldbestudied thanjusttheonespresentedhereI seethesameparallel

in Romeo and JulietwhereJulietexperiences a traumaonstageandLadyCapulethas

experiencedatrauma offstagebutitwouldbeextreme to call LadyCapuletavillaininthe

samewaythatTamora orGoneril areThesamerelationshipmightbeseenbetween

Opheliaand Gertrude in HamletbutagainwhileGertrudeisvilifiedtoacertainextentshe

ishardlya paralleltoLadyMacbethUsingthetheoryofproximityandtraumabutmoving

awayfromstrict archetypeswouldmakefor a morenuancedindividualanalysisofother

Shakespeareanwomen

Anotherpossibility isthequestion ofwhether thetheory istrueofthemale

characters aswellRichardIIIEdmundandAaron arevillains who explicitlydiscusstheir

pastmistreatment asjustification fortheirwickeddeedsCouldthesamebesaidforIago

thoughenigmaticand baffling in hishatredofOthelloormen likeMacbethorAngelowho

becomevillains throughthecourseoftheplayThenthereare male characters whoarefar

moremorallyambiguouslikeShylockLeontesorOthelloall ofwhomwould makefor

fascinating studiesof traumaOf coursethefactthatmenare not victimsinthesameway

thatwomenare isanotherreason toreconsiderthecharacterarchetypespresentedhere

andinstead tostudyproximity andtraumaasanewwaytothink aboutindividual

characters inShakespearersquosplays

A finalareaofstudythatmay open evenmore insights into thetheory ofproximity

andtraumaaswellas howgender playsintothetheoryis genreSofaronlyShakespearersquos

tragedieshavebeendiscussedbutthetheorymaybesuitableforthe studyofcomediesas

Ganger65

wellSomeofShakespearersquosmost researchedandmostlovedwomencomefromhis

comediesandinterestinglymanyofthemcanfallintothe two categoriesofeither

experiencingatrauma beforetheplayhasbegunorexperiencing a traumaonstage

BeatriceandHeroin Much Ado About Nothingfalltothetwosidesofthespectrum

BeatricewasspurnedbyBenedickwithwhomshehashadarelationshipinthepast

beforetheactionoftheplaybegins HeroisspurnedbyClaudioonstagein frontofthe

audienceMorestrongcomedicfemalecharactershaveexperiencedsomekindof painful

eventbefore theplayhasbegun likeRosalindKatharinaand Helena(Midsummer)though

admittedly the event isalways lessviolentthanthoseseenin thetragediesThe definition

of trauma mayneed tobere‐assessedKatharina in The Taming of the Shrewmayhave

experiencedpaternal neglect toa similardegreeas Goneriland Reganandas a resultsheis

byfarthemostviolentofShakespearersquoscomedicwomenHowever canaromantic

rejectionabrokenheartthemost commontypeofoffstagesuffering inShakespearersquos

comediesbeclassified inthesame category as thesuffering seen in thetragediesmdashwar

rapethedeathofachildThereal comparabilityof these characters wouldneed tobe

addressedifthetheoryofproximityandtraumawasextendedto Shakespearersquos comedies

WhenHaroldBloomwrotethatShakespeare hadinventedthehumanhemeantthat

Shakespearedemonstratedanunparalleledunderstandingofhuman naturethroughthe

creationof hischaractersHoweverheseemstodisplay thisunderstanding equallyinthe

creationof hisaudienceBytheirdistancefromacharacterrsquos traumaticeventShakespeare

manipulatesanaudiencersquosempathyandemotionalinvestmentinthe livesofthecharacters

onstageAn audiencersquos reactionsto Shakespearersquosplaysarenot trulyitsownmdashtheyhave

Ganger66

beenpredeterminedbytheplaywrightHealsoappearsto beahead of his time in his

instinctive understandingof theeffectof traumauponthepsycheNotonlymighttrauma

theorybehelpfulinfuturestudies ofShakespearebutexploringShakespearemight

providefurtherinsight intoliterarytraumatheory

Ganger67

Bibliography

Aebischer Pascale Shakespearersquos Violated Bodies Stage and Screen Performance

Cambridge Cambridge UP2004Print

Anderson Thomas P Performing Early Modern Trauma from Shakespeare to Milton Aldershot

UK Ashgate 2006 E-book

Ben-Ezra Menachem ldquoTraumatic Reactions from Antiquity to the 16th Centuryrdquo Stress and

Health 27 (2011) 223-240 ASP Web 8 Jan 2015

Bloom Harold Shakespeare The Invention of the Human New York Riverhead Books 1998

Print

BraytonDanldquoAngling intheLake ofDarknessPossessionDispossession

andthe PoliticsofDiscovery in King Learrdquo ELH702(2003)399‐426 Project Muse

Web21914

Britton John ldquoAC Bradly and Those Children of Lady Macbethrdquo Shakespeare Quarterly 123

(1961) 349-351 JSTOR Web 8 Jan 2015

Brown John Russell Shakespearersquos Plays in Performance New York St Martinrsquos Press 1966

Print

Burke Kenneth Counter-Statement Berkley and Los Angeles University of California Press

1968 Print

Calef V ldquoLady Macbeth and Infanticide How Many Children Had Lady Macbeth Murderedrdquo

Journal of the American Psychoanalytic Association 172 (1969) 528-548 American

Psychological Association Web 27 Jan 2015

CaruthCathy Unclaimed Experience Trauma Narrative and HistoryBaltimore MDJohns

HopkinsUniversity Press1996Print

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger65

wellSomeofShakespearersquosmost researchedandmostlovedwomencomefromhis

comediesandinterestinglymanyofthemcanfallintothe two categoriesofeither

experiencingatrauma beforetheplayhasbegunorexperiencing a traumaonstage

BeatriceandHeroin Much Ado About Nothingfalltothetwosidesofthespectrum

BeatricewasspurnedbyBenedickwithwhomshehashadarelationshipinthepast

beforetheactionoftheplaybegins HeroisspurnedbyClaudioonstagein frontofthe

audienceMorestrongcomedicfemalecharactershaveexperiencedsomekindof painful

eventbefore theplayhasbegun likeRosalindKatharinaand Helena(Midsummer)though

admittedly the event isalways lessviolentthanthoseseenin thetragediesThe definition

of trauma mayneed tobere‐assessedKatharina in The Taming of the Shrewmayhave

experiencedpaternal neglect toa similardegreeas Goneriland Reganandas a resultsheis

byfarthemostviolentofShakespearersquoscomedicwomenHowever canaromantic

rejectionabrokenheartthemost commontypeofoffstagesuffering inShakespearersquos

comediesbeclassified inthesame category as thesuffering seen in thetragediesmdashwar

rapethedeathofachildThereal comparabilityof these characters wouldneed tobe

addressedifthetheoryofproximityandtraumawasextendedto Shakespearersquos comedies

WhenHaroldBloomwrotethatShakespeare hadinventedthehumanhemeantthat

Shakespearedemonstratedanunparalleledunderstandingofhuman naturethroughthe

creationof hischaractersHoweverheseemstodisplay thisunderstanding equallyinthe

creationof hisaudienceBytheirdistancefromacharacterrsquos traumaticeventShakespeare

manipulatesanaudiencersquosempathyandemotionalinvestmentinthe livesofthecharacters

onstageAn audiencersquos reactionsto Shakespearersquosplaysarenot trulyitsownmdashtheyhave

Ganger66

beenpredeterminedbytheplaywrightHealsoappearsto beahead of his time in his

instinctive understandingof theeffectof traumauponthepsycheNotonlymighttrauma

theorybehelpfulinfuturestudies ofShakespearebutexploringShakespearemight

providefurtherinsight intoliterarytraumatheory

Ganger67

Bibliography

Aebischer Pascale Shakespearersquos Violated Bodies Stage and Screen Performance

Cambridge Cambridge UP2004Print

Anderson Thomas P Performing Early Modern Trauma from Shakespeare to Milton Aldershot

UK Ashgate 2006 E-book

Ben-Ezra Menachem ldquoTraumatic Reactions from Antiquity to the 16th Centuryrdquo Stress and

Health 27 (2011) 223-240 ASP Web 8 Jan 2015

Bloom Harold Shakespeare The Invention of the Human New York Riverhead Books 1998

Print

BraytonDanldquoAngling intheLake ofDarknessPossessionDispossession

andthe PoliticsofDiscovery in King Learrdquo ELH702(2003)399‐426 Project Muse

Web21914

Britton John ldquoAC Bradly and Those Children of Lady Macbethrdquo Shakespeare Quarterly 123

(1961) 349-351 JSTOR Web 8 Jan 2015

Brown John Russell Shakespearersquos Plays in Performance New York St Martinrsquos Press 1966

Print

Burke Kenneth Counter-Statement Berkley and Los Angeles University of California Press

1968 Print

Calef V ldquoLady Macbeth and Infanticide How Many Children Had Lady Macbeth Murderedrdquo

Journal of the American Psychoanalytic Association 172 (1969) 528-548 American

Psychological Association Web 27 Jan 2015

CaruthCathy Unclaimed Experience Trauma Narrative and HistoryBaltimore MDJohns

HopkinsUniversity Press1996Print

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger66

beenpredeterminedbytheplaywrightHealsoappearsto beahead of his time in his

instinctive understandingof theeffectof traumauponthepsycheNotonlymighttrauma

theorybehelpfulinfuturestudies ofShakespearebutexploringShakespearemight

providefurtherinsight intoliterarytraumatheory

Ganger67

Bibliography

Aebischer Pascale Shakespearersquos Violated Bodies Stage and Screen Performance

Cambridge Cambridge UP2004Print

Anderson Thomas P Performing Early Modern Trauma from Shakespeare to Milton Aldershot

UK Ashgate 2006 E-book

Ben-Ezra Menachem ldquoTraumatic Reactions from Antiquity to the 16th Centuryrdquo Stress and

Health 27 (2011) 223-240 ASP Web 8 Jan 2015

Bloom Harold Shakespeare The Invention of the Human New York Riverhead Books 1998

Print

BraytonDanldquoAngling intheLake ofDarknessPossessionDispossession

andthe PoliticsofDiscovery in King Learrdquo ELH702(2003)399‐426 Project Muse

Web21914

Britton John ldquoAC Bradly and Those Children of Lady Macbethrdquo Shakespeare Quarterly 123

(1961) 349-351 JSTOR Web 8 Jan 2015

Brown John Russell Shakespearersquos Plays in Performance New York St Martinrsquos Press 1966

Print

Burke Kenneth Counter-Statement Berkley and Los Angeles University of California Press

1968 Print

Calef V ldquoLady Macbeth and Infanticide How Many Children Had Lady Macbeth Murderedrdquo

Journal of the American Psychoanalytic Association 172 (1969) 528-548 American

Psychological Association Web 27 Jan 2015

CaruthCathy Unclaimed Experience Trauma Narrative and HistoryBaltimore MDJohns

HopkinsUniversity Press1996Print

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger67

Bibliography

Aebischer Pascale Shakespearersquos Violated Bodies Stage and Screen Performance

Cambridge Cambridge UP2004Print

Anderson Thomas P Performing Early Modern Trauma from Shakespeare to Milton Aldershot

UK Ashgate 2006 E-book

Ben-Ezra Menachem ldquoTraumatic Reactions from Antiquity to the 16th Centuryrdquo Stress and

Health 27 (2011) 223-240 ASP Web 8 Jan 2015

Bloom Harold Shakespeare The Invention of the Human New York Riverhead Books 1998

Print

BraytonDanldquoAngling intheLake ofDarknessPossessionDispossession

andthe PoliticsofDiscovery in King Learrdquo ELH702(2003)399‐426 Project Muse

Web21914

Britton John ldquoAC Bradly and Those Children of Lady Macbethrdquo Shakespeare Quarterly 123

(1961) 349-351 JSTOR Web 8 Jan 2015

Brown John Russell Shakespearersquos Plays in Performance New York St Martinrsquos Press 1966

Print

Burke Kenneth Counter-Statement Berkley and Los Angeles University of California Press

1968 Print

Calef V ldquoLady Macbeth and Infanticide How Many Children Had Lady Macbeth Murderedrdquo

Journal of the American Psychoanalytic Association 172 (1969) 528-548 American

Psychological Association Web 27 Jan 2015

CaruthCathy Unclaimed Experience Trauma Narrative and HistoryBaltimore MDJohns

HopkinsUniversity Press1996Print

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger68

Chillington Rutter Carol Clamorous Voices Shakespearersquos Women Today New York

Routledge 1989 Print

--- Enter the Body Women and Representation on Shakespearersquos StageLondonandNew

YorkRoutledge2001 Print

ColeridgeSamuelTaylorNoteson Learrdquo Coleridgersquos Essays and Lectures on

Shakespeare amp Some Other Old Poets and Dramatists EdHenryNelsonColeridge

SarahColeridgeandPayne Collier LondonJMDentamp Co 1856124‐135Print

ConkieRobldquoRedButtonShakespearerdquo Shakespeare Survey62(2009)123‐140 Print

CoursenHRldquoLearandCordeliardquo Critical Essays on Shakespearersquos King LearEd JayL

HalioNewYorkGKHallampCo1996216‐226Print

CoxCatherineSldquolsquoAnExcellent thinginWomanrsquoVirgoandViragosinKingLearrdquo Modern

Philology962(1998) 143‐157 Academic Search PremierWeb21714

Dean Leonard F ldquolsquoMacbethrsquo and Modern Criticismrdquo The English Journal 472 (1958) 57-67

JSTOR Web 20 Jan 2015

DreherDianeElizabeth Domination and Defiance Fathers and Daughters in Shakespeare

Lexington KentuckyUP1986 Print

EklundJacobldquoTheNatureofEmpathyrdquo Philosophy in the Contemporary World201

(2013)28‐37Print

Flachmann Michael Shakespeare in Performance Inside the Creative Process Salt Lake City

University of Utah Press 2011 Print

FrattaroliElioJldquoOntheValidityofTreatingShakespearersquos Characters asif They WereReal

Peoplerdquo Psychoanalysis and Contemporary Thought103(1987)407‐437 American

Psychological AssociationWeb27Jan2015

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger69

FreudSigmundldquoBeyondthePleasurePrinciplerdquo The Standard Edition of the Complete

Psychological Works of Sigmund Freud Volume IV and V Interpretation of Dreams

EdJamesStracheyAnnaFreud AlixStracheyandAlanTyson LondonThe

HogarthPressLimited 1953‐74 Print

‐‐‐ldquoTheThemeoftheThreeCasketsrdquoTransCJMHubback The Standard Edition of

the Complete Psychological Works of Sigmund Freud Volume XII The Case of

Schreber Papers on Technique and Other Works EdJamesStracheyAnnaFreud

AlixStracheyandAlanTysonLondonTheHogarthPressLimited1958289‐301

Print

Gielgud John ldquoIntroductionrdquo An Actor Prepares Konstantin Stanislavski trans Elizabeth

Reynolds Hapgood NY Theatre Arts Books 1948 Print

GoodlandKatharineldquoInverting thePietagraveinShakespearersquos King Learrdquo Marian

Moments in Early Modern British DramaEdReginaBuccolaandLisaHopkins

Abingdon Oxon Ashgate PublishingGroup200747‐74 E‐book WalterWStiern

LibraryWeb22414

Green Douglas E ldquolsquoHer Martyrrsquod Signsrsquo Gender and Tragedy in Titus Andronicusrdquo

Shakespeare Quarterly 403 (1989) 317-326 ASP Web 12 Jan 2015

Grogan Jane ldquolsquoHeadless Romersquo and Hungry Goths Herodotus and Titus Andronicusrdquo English

Literary Renaissance 431 (2013) 30-61 ASP Web 12 Jan 2015

GuilfoyleCherrellldquoTheRedemptionof King Learrdquo Comparative Drama231(1989)50‐69

JSTORWeb21814

Hodgdon Barbara ldquoNew Collaborations with Old Plays The (Textual) Politics of Performance

Commentaryrdquo Textual Performances The Modern Reproductions of Shakespearersquos

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger70

Drama Ed Lukas Erne and Margaret Jane Kidnie Cambridge Cambridge UP 2004

Print

Holland Norman H Psychoanalysis and Shakespeare NY Toronto London McGraw-Hill

Book Comparny 1964 George A Smathers Libraries Web

KnightsLC How Many Children Had Lady Macbeth An Essay in the Theory and Practice of

Shakespeare CriticismCambridgeTheMinorityPress1933Print

Lamb Caroline ldquoPhysical Trauma and (Adapt)ability in Titus Andronicusrdquo Critical Survey 221

(2010) 41-57 ASP Web 6 Jan 2015

McEachern ClaireldquoFiguresofFidelityBelievingin King Learrdquo Modern Philology982

(2000)211‐230 JSTORWeb22514

McNally Richard ldquoDebunking Myths About Trauma and Memoryrdquo Canadian Journal of

Psychiatry 5013 (2005) 817-822 Web Academic Search Premier 24 Nov 2014

MedeaMacbethCinderella By Euripides William Shakespeare Richard Rogers and Oscar

Hammerstein Adapted by Bill Rauch and Tracy Young Dir Bill Rauch and Tracy

Young Perf Jeffrey King and Christopher Liam Moore Oregon Shakespeare Festival

Angus Bowmer Theatre Ashland Oregon 10 July 2012 Performance

Merlin Bella The Complete Stanislavski Toolkit Drama Publishers 2007 Print

MillardBarbaraCldquoViragowith aSoftVoiceCordeliarsquosTragicRebellionin King Learrdquo

Philological Quarterly68(Spring 1989)143‐165Print

MorrisIvorldquoCordelia andLearrdquo Shakespeare Quarterly 82(1957)141‐158

JSTORWeb21814

Nofs‐SnyderSarenMelindaPfundsteinandKellyRogers PersonalInterview2223July

2015

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger71

Ovid Metamorphoses Trans AD Melville Oxford and New York Oxford UP 1986 Print

PackardBethanyldquoLaviniaas Co‐AuthorofShakespearersquos Titus Andronicusrdquo SEL Studies in

English Language 1500‐1900502 (2010)281‐300 Project MuseWeb14Jan 2015

Packer Tina Women of Will Following the Feminine in Shakespearersquos PlaysNewYork

Alfred AKnopf2015Print

ParkerDouglasHldquoTheThirdSuitor in King Lear Act1Scene1rdquo English Studies722

(1991)136‐145 Academic Search PremierWeb21714

Pederson Joshua ldquoSpeak Trauma Toward a Revised Understanding of Literary Trauma

Theoryrdquo Narrative 223 (2014) 333-353 Web Academic Search Premier 15 Nov

2014

A Performance of Macbeth Dir Trevor Nunn Perf Ian McKellen and Judi Dench Royal

Shakespeare Company 1979 Performance YouTube Web 26 September 2015

PerkinsWilderLinaldquoShakespeare andMemoryrdquo Literature Compass 9(2012)

549‐559 Wiley Online LibraryWeb25Nov2014

PettetEC Shakespeare and the Romance TraditionLondonNewYorkStaples Press 1949

Print

RovineHarvey Silence in Shakespeare Drama Power and GenderLondonUMIResearch

Press 1987Print

ShakespeareWilliam King Henry V EdTWCraikBloomsburyArdenShakespeare1995

Print

‐‐‐ King LearEdRAFoakesLondonBloomsburyArden Shakespeare1997 Print

‐‐‐ Macbeth EdKennethMuirLondonTheArdenShakespeare 1951Print

‐‐‐ The TempestEdVirginiaMason Vaughanand AldenTVaughanLondonBloomsbury

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger72

ArdenShakespeare1999Print

‐‐‐ Titus AndronicusEdJonathan BateLondonBloomsburyArdenShakespeare1995

Print

SkuraMeredithldquoDragon Fathers andUnnaturalChildrenWarring

GenerationsinKingLearanditsSourcesrdquo Comparative Drama422(2008)121‐

148 Academic Search PremierWeb21614

SpragueArthurColby Shakespeare and the AudienceNewYorkRussellandRussell1966

Print

Stanislavski Konstantin An Actor Prepares trans Elizabeth Reynolds Hapgood NY Theatre

Arts Books 1948 Print

--- Creating a Role trans Elizabeth Reynolds Hapgood NY Theatre Arts Books 1961 Print

StephensKatyldquoKatyStephens TitusAndronicusRoyalShakespeareCompanyrdquoInterview

YouTube24Sep2013Web

Tallent Lenker Lagretta Fathers and Daughters in Shakespeare and Shaw London Greenwood

Press 2001 Print

Terry Ellen Four Lectures on Shakespeare 1932 Print

--- Story of My Life Ellen Terryrsquos Memoirs Ed Edith Craig and Christopher St John Westport

CT Greenwood Press 1970 Print

Titus Dir Julie Taymor Perf Anthony Hopkins Jessica Lange Alan Cumming Clear Blue Sky

Productions 2000 Film

Wahman Jessica ldquoDrama as Philosophical Genrerdquo The Journal of Speculative Philosophy 284

(2014) 454-471 Project Muse Web 20 Jan 2015

WelchDennisldquoChristabel King LearandtheCinderellafolktalerdquo Papers on

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414

Ganger73

Language and Literature323(1996)291‐314 Academic Search PremierWeb

22414