In this work of scholarship and creativity, John Meagher argues that we have understood Shakespeare incorrectly by failing to recognize his own directions as playwright, his dramatic designs, his plotting and use of sources, the deployment of his acting company, and the character of his customary stage and audience. In short, we have not been exposed to Shakespeare's Shakespeare, but to Shakespeare as read and acted according to norms of critics, directors, and editors of later times. Through an examination of seven well-known plays (Romeo and Juliet; Hamlet; King Lear; A Midsummer Night's Dream; As You Like It; Richard II; and Henry IV, Part I), Meagher uncovers Shakespeare as an artist, director, and actor. Written for the general reader and scholar, Shakespeare's Shakespeare recognizes the Bard first and foremost as a man of the theater, and offers vital solutions to several of the thorny problems that have beset scholars of Elizabethan drama.
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Book Description
Editorial Reviews
From Publishers Weekly
Meagher (Method and Meaning in Jonson's Masques) draws from seven plays (Hamlet, Lear, Romeo & Juliet, A Midsummer Night's Dream, As You Like It, Richard II, and Henry IV, Part I) to show that the accumulated work of editors, directors and critics over the centuries has blinded us to some of Shakespeare's basic concerns as a dramatist. Meagher begins with an excellent example (act 2, scene 5 of As You Like It) in which he returns to the First Folio text to uncover subtle points about comedy and stagecraft. He then arranges his subsequent remarks into topical chapters that discuss perceptively Shakespeare's use of space, time, doubling of actors, sources, character and language. Meagher appears to falter only in the chapter on time, where some of the categories and examples seem forced and may violate his own advice about being flexible in approaching the plays. His most controversial findings will probably be those that minimize a study of character psychology, though his balanced explanations persuade: "Shakespeare drew his roles primarily from a repertoire of established and recognizable types.... His expertise was exercised mainly in the finesse with which he deployed their typical attributes." Meagher hits on a rich truth when he concludes that the staple element of surprise in Shakespeare comes not from plot twists but from "an appeal to more elemental truths and values than those that had seemed in charge of the play." An engaging, lively discussion with many fresh perceptions, this book both stands on its own and justifies the author's further explorations. Photos not seen by PW.
Copyright 1997 Cahners Business Information, Inc.
Review
"Meagher...draws from seven plays (Hamlet, Lear, Romeo & Juliet, A Midsummer Night's Dream, As You Like It, Richard II, and Henry IV, Part I) to show that the accumulated work of editors, directors and critics over the centuries has blinded us to some of Shakespeare's basic concerns as a dramatist. Meagher begins with an excellent example (act 2, scene 5 of As You Like It) in which he returns to the First Folio text to uncover subtle points about comedy and stagecraft. He then arranges his subsequent remarks into topical chapters that discuss perceptively Shakespeare's use of space, time, doubling of actors, sources, character and language....His most controversial findings will probably be those that minimize a study of character psychology, though his balanced explanations persuade: "Shakespeare drew his roles primarily from a repertoire of established and recognizable types.... His expertise was exercised mainly in the finesse with which he deployed their typical attributes." Meagher hits on a rich truth when he concludes that the staple element of surprise in Shakespeare comes not from plot twists but from "an appeal to more elemental truths and values than those that had seemed in charge of the play." An engaging, lively discussion with many fresh perceptions, this book both stands on its own and justifies the author's further explorations."--Publishers Weekly
"Meagher...draws from seven plays (Hamlet, Lear, Romeo & Juliet, A Midsummer Night's Dream, As You Like It, Richard II, and Henry IV, Part I) to show that the accumulated work of editors, directors and critics over the centuries has blinded us to some of Shakespeare's basic concerns as a dramatist. Meagher begins with an excellent example (act 2, scene 5 of As You Like It) in which he returns to the First Folio text to uncover subtle points about comedy and stagecraft. He then arranges his subsequent remarks into topical chapters that discuss perceptively Shakespeare's use of space, time, doubling of actors, sources, character and language....His most controversial findings will probably be those that minimize a study of character psychology, though his balanced explanations persuade: "Shakespeare drew his roles primarily from a repertoire of established and recognizable types.... His expertise was exercised mainly in the finesse with which he deployed their typical attributes." Meagher hits on a rich truth when he concludes that the staple element of surprise in Shakespeare comes not from plot twists but from "an appeal to more elemental truths and values than those that had seemed in charge of the play." An engaging, lively discussion with many fresh perceptions, this book both stands on its own and justifies the author's further explorations."--Publishers Weekly --This text refers to the Paperback edition.
"Meagher...draws from seven plays (Hamlet, Lear, Romeo & Juliet, A Midsummer Night's Dream, As You Like It, Richard II, and Henry IV, Part I) to show that the accumulated work of editors, directors and critics over the centuries has blinded us to some of Shakespeare's basic concerns as a dramatist. Meagher begins with an excellent example (act 2, scene 5 of As You Like It) in which he returns to the First Folio text to uncover subtle points about comedy and stagecraft. He then arranges his subsequent remarks into topical chapters that discuss perceptively Shakespeare's use of space, time, doubling of actors, sources, character and language....His most controversial findings will probably be those that minimize a study of character psychology, though his balanced explanations persuade: "Shakespeare drew his roles primarily from a repertoire of established and recognizable types.... His expertise was exercised mainly in the finesse with which he deployed their typical attributes." Meagher hits on a rich truth when he concludes that the staple element of surprise in Shakespeare comes not from plot twists but from "an appeal to more elemental truths and values than those that had seemed in charge of the play." An engaging, lively discussion with many fresh perceptions, this book both stands on its own and justifies the author's further explorations."--Publishers Weekly --This text refers to the Paperback edition.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
An excellent approach,
By A Customer
This review is from: Shakespeare's Shakespeare: How the Plays Were Made (Hardcover)
Meagher's approach to analyzing seven of Shakespeare's plays (he claims this is the introduction to a larger work he is planning that will examine the entire canon) is a terrific new way of examining Shakespeare. In much the same way as a theatrical director would, Meagher searches the text for clues as to the original performance, explaining many of the inconsistencies and editorial confusions that have abounded since the 17th century. Quite readably, this book examines Shakespeare's treatment of place and time, his approach to his sources, and most interestingly - his use of the common theatrical practice of role-doubling to have fewer actors play many parts. Reading this book with a good facsimile of Shakespeare's First Folio (the first collected works of Shakespeare, published in 1623) is helpful, but not necessary. I highly recommend this to any student or teacher who thinks they understand Shakespeare.
5.0 out of 5 stars
Revelatory,
By OkieScribe "OkieScribe" (Tulsa OK) - See all my reviews
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This review is from: Shakespeare's Shakespeare: How the Plays Were Made (Paperback)
Tragic that Meagher will never finish his planned longer work of this type; he died in 2003. Nevertheless, this is a valuable and enlightening approach to Shakespeare's works. Full of terrific insights and revelations, it is of value to anyone interested in a deeper appreciation of the plays. Directors would do well to study and adopt Meagher's method. Though his analysis is necessarily limited to a handful of works, his theories and commentaries shed new light on all the plays and bring out the richest nuances. Should be part of any Shakespeare fan's library. Highly recommended.
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