{"id":14400,"date":"2018-05-17T16:24:48","date_gmt":"2018-05-17T16:24:48","guid":{"rendered":"http:\/\/173.230.141.246\/dcc\/wpdemo\/?p=14400"},"modified":"2025-06-05T19:52:20","modified_gmt":"2025-06-05T19:52:20","slug":"searchig-for-ophelia-in-the-archive","status":"publish","type":"post","link":"https:\/\/dcc.newberry.org\/?p=14400","title":{"rendered":"Searching for Ophelia in the Archive"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\"><\/h2>\n\n\n\n<div class=\"wp-block-getwid-tabs\" data-active-tab=\"0\"><ul class=\"wp-block-getwid-tabs__nav-links\"><\/ul>\n<div class=\"wp-block-getwid-tabs__nav-link\"><span class=\"wp-block-getwid-tabs__title-wrapper\"><a href=\"#\"><span class=\"wp-block-getwid-tabs__title\">Essay<\/span><\/a><\/span><\/div><div class=\"wp-block-getwid-tabs__tab-content-wrapper\"><div class=\"wp-block-getwid-tabs__tab-content\">\n<h4 class=\"wp-block-heading\">Introduction<\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">One of the most powerful and iconic moments from Shakespeare\u2019s <em>Hamlet<\/em> is when Queen Gertrude announces, and then describes, the death of Ophelia.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">While powerful, this moment can also be challenging to apprehend or even to take seriously. Why? Because in many ways, this speech represents what is both most appealing and most strange about Shakespeare\u2019s theatre. It is a prominent example of reported action, where a pivotal event in the play is described to us rather than presented. This almost never happens in the more naturalistic media of film and television. It is richly written verse, perhaps ornamented \u201cwildly\u201d as Ophelia herself, and beneath its description we might be aware of both the Elizabethan passion for rhetorical \u201cflowers,\u201d as well as the pastoral tradition that sees poetry and nature as having a deep and ancient bond. It is also a moment of both feminine despair and special feminine power. Despair because, so it seems, Ophelia is a casualty of the spiraling violence that will soon consume all the play\u2019s major characters, and is apparently unable to manage the twin blows of Hamlet\u2019s rejection and her father\u2019s murder. Various characters consider afterward whether she is to blame for her death, and leaves the matter, to use the unnamed priest\u2019s word, \u201cdoubtful\u201d (5.1.227). But it is also a moment of feminine power, because it is Gertrude who shapes this unforgettable passage, and for the moment arrests the machinations of vengeance being prepared by her husband and Laertes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">What are some of the resources available at the Newberry Library to open up and explore the simultaneous challenges to, and powers of, such a moment? In this digital collection, we will take two primary paths. One is the textual history of Shakespeare. As with so much else, such history is easy to access in this day and age, when considered as information. It is not difficult to learn what choices between varying and conflicting Shakespeare texts editors have made over the centuries, or what pieces of context editors and commentators have seen as most important to understanding a given passage. But at the Newberry, we can examine and handle these versions of Shakespeare ourselves.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There is something remarkable about this opportunity. Though he was working long before the advent of the internet and the digital age, the German-Jewish thinker Walter Benjamin (1892\u20131940) wrote one of the most profound meditations on what happens when one encounters archival objects. Benjamin\u2019s famous essay, \u201cThe Work of Art in the Age of Mechanical Reproduction,\u201d explores the concept of \u201caura,\u201d the special quality that resists reproduction and that inheres in the thing itself. This quality might be a natural sublimity in a landscape, partially captured in a landscape painting, or the presence of an actor in a theatre, that resists being captured by camera or video. Archival materials also have this quality, whether it is what Benjamin calls \u201cthe testimony to the history which it has experienced\u201d that is visible in subtle details\u2014paper, ink, binding, marks of prior owners\u2014or other arresting and alienating effects of objects from the nearer or more distant past. So despite this being a digital collection of archival materials from the Newberry\u2019s collections, the collection is particularly interested in the effects of handling these materials and encountering them \u201cin the flesh.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Essential Questions:<\/em><\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li>How is our sense of a Shakespeare passage changed by examining editions from previous centuries?<\/li>\n\n\n\n<li>What clues to the meaning and emotional impact of a passage or character are contained in these editions?<\/li>\n\n\n\n<li>Ben Jonson once claimed that Shakespeare was \u201cfor all time\u201d: in other words, a timeless icon of genius. To what extent does spending time with these editions reverse this claim, and instead help us understand how \u201cShakespeare\u201d has been molded to the interests and sensibilities of many times?<\/li>\n\n\n\n<li>How is our sense Gertrude\u2019s speech, and our sense of Ophelia\u2019s death, changed by placing it in more distant contexts afforded by the Collection, specifically thinking of her death as a metamorphosis?<\/li>\n<\/ol>\n\n\n\n<h4 class=\"wp-block-heading\">Let the Editing Begin<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\">Selection: Rowe&#8217;s Edition, <a href=\"https:\/\/archive.org\/details\/nby_676498\" target=\"_blank\" rel=\"noreferrer noopener\">Tittle page<\/a>, <a href=\"https:\/\/archive.org\/details\/nby_676498-2\" target=\"_blank\" rel=\"noreferrer noopener\">Title page of <em>Hamlet <\/em>with illustration<\/a>, <a href=\"https:\/\/archive.org\/details\/nby_676498-3\" target=\"_blank\" rel=\"noreferrer noopener\">Gertrude&#8217;s speech<\/a> (1709)<\/h5>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper-container\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img fetchpriority=\"high\" decoding=\"async\" width=\"615\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13948\" data-id=\"13948\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-615x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-615x1024.jpg 615w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-scaled-300x500.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-scaled-600x999.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-180x300.jpg 180w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-768x1279.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-922x1536.jpg 922w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-1229x2048.jpg 1229w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-scaled.jpg 1537w\" sizes=\"(max-width: 615px) 100vw, 615px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Rowe&#8217;s Edition. The Works of Mr. William Shakespear; in six volumes, title page (1709)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img decoding=\"async\" width=\"1024\" height=\"784\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13949\" data-id=\"13949\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_hamlet_tp_o2-1-1024x784.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_hamlet_tp_o2-1-1024x784.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_hamlet_tp_o2-1-300x230.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_hamlet_tp_o2-1-scaled-600x460.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_hamlet_tp_o2-1-768x588.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_hamlet_tp_o2-1-1536x1176.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_hamlet_tp_o2-1-2048x1568.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Rowe\u2019s Edition. The Works of Mr. William Shakespear in six volumes. Title page of Hamlet and illustration (1709)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img decoding=\"async\" width=\"700\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13950\" data-id=\"13950\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_pg_2447_o2-700x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_pg_2447_o2-700x1024.jpg 700w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_pg_2447_o2-scaled-300x439.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_pg_2447_o2-scaled-600x878.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_pg_2447_o2-205x300.jpg 205w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_pg_2447_o2-768x1123.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_pg_2447_o2-1050x1536.jpg 1050w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_pg_2447_o2-1400x2048.jpg 1400w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_pg_2447_o2-scaled.jpg 1750w\" sizes=\"(max-width: 700px) 100vw, 700px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Rowe\u2019s Edition. The Works of Mr. William Shakespear in six volumes. Gertrude\u2019s Speech, 2447 (1709)<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">There are no fully authorized texts of any of Shakespeare\u2019s plays: no manuscripts in his hand, no printed editions definitively tied to his oversight. And so when, in the eighteenth century, when what we now understand as the English literary \u201ccanon\u201d began to form, and Shakespeare began to be revered as England\u2019s national author, a series of editors began to take on the task of stabilizing and authorizing the texts of Shakespeare\u2019s plays. It was a wild time, with editors not necessarily using consistent or scientific methods, and often \u201cemending\u201d (making corrections to or improving) the text of the plays if the editor suspected the text to be \u201ccorrupt,\u201d or if, in the editor\u2019s estimation, it simply didn\u2019t make sense. It was also a time when the market for Shakespeare was growing. Alexander Pope (1688-1744) is now known mostly for his erudite satirical poetry, but he made a living from publishing translations of Homer, and from an edition of Shakespeare that took more liberties than even his contemporaries could bear. However, the list of subscribers below shows the extent to which the rich and powerful wished to be associated with an edition of Shakespeare created by the foremost poet of the age.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\">Selection: Alexander Pope&#8217;s Edition, <a rel=\"noreferrer noopener\" href=\"https:\/\/archive.org\/details\/nby_676509\" target=\"_blank\">title page<\/a> and <a rel=\"noreferrer noopener\" href=\"https:\/\/archive.org\/details\/nby_676509-2\" target=\"_blank\">first page of <em>Hamlet<\/em><\/a> (1723).<\/h5>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper-container\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"658\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13952\" data-id=\"13952\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_072_tp_frontis_o2-1024x658.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_072_tp_frontis_o2-1024x658.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_072_tp_frontis_o2-300x193.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_072_tp_frontis_o2-scaled-600x386.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_072_tp_frontis_o2-768x494.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_072_tp_frontis_o2-1536x987.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_072_tp_frontis_o2-2048x1316.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Pope\u2019s Edition. The Works of Shakespear, title page (1723)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"650\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13953\" data-id=\"13953\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_072_vol_06_hamlet_pg_20_01_o2-1024x650.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_072_vol_06_hamlet_pg_20_01_o2-1024x650.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_072_vol_06_hamlet_pg_20_01_o2-300x190.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_072_vol_06_hamlet_pg_20_01_o2-scaled-600x381.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_072_vol_06_hamlet_pg_20_01_o2-768x487.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_072_vol_06_hamlet_pg_20_01_o2-1536x975.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_072_vol_06_hamlet_pg_20_01_o2-2048x1299.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Pope\u2019s Edition. The Works of Shakespear, Start of Hamlet with illustration (1723)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"834\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-17001\" data-id=\"17001\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_02_o2-834x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_02_o2-834x1024.jpg 834w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_02_o2-scaled-300x368.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_02_o2-scaled-600x736.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_02_o2-244x300.jpg 244w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_02_o2-768x943.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_02_o2-1251x1536.jpg 1251w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_02_o2-1669x2048.jpg 1669w\" sizes=\"(max-width: 834px) 100vw, 834px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Pope\u2019s Edition. The Works of Shakespear, Start of Hamlet, vol. 6, pg. 20 (1723)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"799\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-17002\" data-id=\"17002\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_03_o2-799x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_03_o2-799x1024.jpg 799w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_03_o2-scaled-300x384.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_03_o2-scaled-600x769.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_03_o2-234x300.jpg 234w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_03_o2-768x984.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_03_o2-1199x1536.jpg 1199w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_03_o2-1599x2048.jpg 1599w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_03_o2-scaled.jpg 1998w\" sizes=\"(max-width: 799px) 100vw, 799px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Pope\u2019s Edition. The Works of Shakespear, Start of Hamlet, illustration opp. pg. 20 (1723)<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">The edition of William Warburton (1698-1779) also became famous for its aggressive editing, but in the case of Gertrude\u2019s speech, Warburton found little cause for intervention, except with the inclusion of a note about a satiric response to the speech (on page 240). But this is interesting: does Warburton hint that this speech was hard to take seriously? Another interesting feature of this edition is the quotation marks around parts of Gertrude\u2019s speech, indicators of a passage the might be worth copying out into a journal or \u201ccommonplace\u201d book.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><a href=\"https:\/\/archive.org\/details\/nby_676537\" target=\"_blank\" rel=\"noreferrer noopener\">Selection: Warburton&#8217;s Edition, Gertrude&#8217;s Speech (1747)<\/a><\/h5>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper-container\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"682\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13951\" data-id=\"13951\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-682x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-682x1024.jpg 682w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-scaled-300x450.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-scaled-600x901.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-200x300.jpg 200w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-768x1153.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-1023x1536.jpg 1023w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-1364x2048.jpg 1364w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-scaled.jpg 1705w\" sizes=\"(max-width: 682px) 100vw, 682px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">William Warburton. The Works of Shakespear: in eight volumes. Gertrude&#8217;s Speech, vol. 8 pg. 239 (1747)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"699\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-17003\" data-id=\"17003\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_0747_vol_08_pg_240_o2-699x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_0747_vol_08_pg_240_o2-699x1024.jpg 699w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_0747_vol_08_pg_240_o2-scaled-300x440.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_0747_vol_08_pg_240_o2-scaled-600x879.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_0747_vol_08_pg_240_o2-205x300.jpg 205w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_0747_vol_08_pg_240_o2-768x1125.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_0747_vol_08_pg_240_o2-1048x1536.jpg 1048w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_0747_vol_08_pg_240_o2-1398x2048.jpg 1398w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_0747_vol_08_pg_240_o2-scaled.jpg 1747w\" sizes=\"(max-width: 699px) 100vw, 699px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">William Warburton. The Works of Shakespear: in eight volumes. Gertrude&#8217;s Speech, vol. 8 pg. 240 (1747)<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">By the nineteenth century there were so many editions that a special code was developed so that textual choices and their origins could be indicated in a compressed and consistent form. H. H. Furness\u2019s edition is the first Shakespeare \u201cVariorum,\u201d which attempts to supply, mostly in footnotes, <em>all<\/em> of the most significant comments, suggested corrections and emendations, for every line of every play. Such editions established the serious and \u201cscholarly\u201d approach to Shakespeare editing that persists in such editions as the Arden Shakespeare and others. But less attention has been paid to the aesthetics of packaging the text in this way, even as no one questions the powerful effects on audience experience and interpretation provoked by different performance approaches. Examining these editions raises the question of the extent to which the editing and packaging of Shakespeare has functioned as a \u201cperformance\u201d to a greater extent than usually considered.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Questions to consider:<\/em><\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li>Rowe\u2019s edition of 1709 is the earliest \u201ccomplete\u201d Shakespeare edition. What is the effect of seeing signatures of previous owners from 1776 and 1796?<\/li>\n\n\n\n<li>What kinds of analytic possibilities are opened by Warburton\u2019s suggestion, in his note, that Gertrude\u2019s speech might be hard to take seriously?<\/li>\n\n\n\n<li>How does it change the way we read the speech to see indications that it is particularly famous or worthy of memorization?<\/li>\n\n\n\n<li>With Pope, does the text still seem luxurious today? Fit for a king to read? What are some of the aspects of the book design that seem to indicate this?<\/li>\n\n\n\n<li>What effect does it have on Gertrude\u2019s speech to see it surrounded by the notes and commentary of the Variorum edition?<\/li>\n<\/ol>\n\n\n\n<h4 class=\"wp-block-heading\">The Folio, and Ghosts<\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">The closest we can get to the moment of Shakespeare writing his plays, or rehearsing the death of Ophelia speech for the first time, are the quarto and folio texts that form the extremely complex textual origins of this play. And at the Newberry, for this, and for most Shakespeare plays, the obvious place to start is with the Folio of 1623.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><a rel=\"noreferrer noopener\" href=\"https:\/\/archive.org\/details\/nby_676038-2\" target=\"_blank\">Selection: Folio of 1623, Gertrude&#8217;s Speech<\/a>.<\/h5>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper-container\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"695\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13956\" data-id=\"13956\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-695x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-695x1024.jpg 695w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-scaled-300x442.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-scaled-600x884.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-204x300.jpg 204w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-768x1132.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-1042x1536.jpg 1042w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-1389x2048.jpg 1389w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-scaled.jpg 1737w\" sizes=\"(max-width: 695px) 100vw, 695px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">First Folio, Gertrude&#8217;s Speech, 276 (1623)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"712\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-17004\" data-id=\"17004\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_01_hamlet_pg_277_o2-712x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_01_hamlet_pg_277_o2-712x1024.jpg 712w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_01_hamlet_pg_277_o2-scaled-300x432.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_01_hamlet_pg_277_o2-scaled-600x863.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_01_hamlet_pg_277_o2-209x300.jpg 209w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_01_hamlet_pg_277_o2-768x1105.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_01_hamlet_pg_277_o2-1068x1536.jpg 1068w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_01_hamlet_pg_277_o2-1423x2048.jpg 1423w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_01_hamlet_pg_277_o2-scaled.jpg 1779w\" sizes=\"(max-width: 712px) 100vw, 712px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">First Folio, Gertrude&#8217;s Speech, 277 (1623)<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Many people, even those with only a modest interest in Shakespeare, tend to find being in the presence of one of these books an exciting and memorable experience. This is despite the fact that the book does not seem as reverent or well-produced as later editions. In an ordinary page of text, compared to the spacious presentation of Pope\u2019s edition, we might find things to be rather busy and congested on the page. But perhaps this is part of its power, its strangeness. Looking closely at the lettering and lines separating columns one sees places where the ink is thicker, signs that seem to tell of what we know to be the case: Elizabethan printing was on a much smaller scale, and books were error-checked and corrected <em>during<\/em> their printing. The light but durable paper has visible fibers, especially light red ones. The effect is of an \u201cartisanal\u201d production, something that displays a technique of reproduction that seems evidently the very opposite of \u201cmodern.\u201d And oddly it is perhaps just the historical distance, and strangeness, that seems to bring us closer to the people who directed the production of this book.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><a href=\"https:\/\/archive.org\/details\/nby_677534\" target=\"_blank\" rel=\"noreferrer noopener\">Selection: The Quarto of 1611<\/a><\/h5>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper-container\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"742\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13958\" data-id=\"13958\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-742x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-742x1024.jpg 742w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-scaled-300x414.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-scaled-600x828.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-217x300.jpg 217w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-768x1060.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-1113x1536.jpg 1113w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-1484x2048.jpg 1484w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-scaled.jpg 1855w\" sizes=\"(max-width: 742px) 100vw, 742px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Reproduction of the Quarto of 1611 (1926)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"790\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-17005\" data-id=\"17005\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_719_611_sig_l3v_o2-790x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_719_611_sig_l3v_o2-790x1024.jpg 790w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_719_611_sig_l3v_o2-scaled-300x389.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_719_611_sig_l3v_o2-scaled-600x778.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_719_611_sig_l3v_o2-231x300.jpg 231w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_719_611_sig_l3v_o2-768x996.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_719_611_sig_l3v_o2-1184x1536.jpg 1184w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_719_611_sig_l3v_o2-1579x2048.jpg 1579w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/case_ys_719_611_sig_l3v_o2-scaled.jpg 1974w\" sizes=\"(max-width: 790px) 100vw, 790px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Reproduction of the Quarto of 1611 (1926)<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<figure class=\"wp-block-image alignright size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_674000\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"786\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_737_8_pg_233_o2-1-1024x786.jpg\" alt=\"\" class=\"wp-image-13957\" style=\"width:363px;height:279px\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_737_8_pg_233_o2-1-1024x786.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_737_8_pg_233_o2-1-300x230.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_737_8_pg_233_o2-1-scaled-600x461.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_737_8_pg_233_o2-1-768x589.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_737_8_pg_233_o2-1-1536x1179.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_737_8_pg_233_o2-1-2048x1572.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_674000\" target=\"_blank\" rel=\"noreferrer noopener\">Theaetre Royal, Durry Lane, Macready Prompt Copy (1842)<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">If one has paid careful attention to the passage, there are also some differences that are striking, especially at the end, where Ophelia\u2019s garments are \u201cheavy with her drinke,\u201d not \u201ctheir\u201d drink, and her \u201cmelodious lay\u201d is replaced with \u201cmelodious buy.\u201d As well, the capitalization and punctuation, along with the spelling and lettering of \u201cs\u201d in particular, all cast a further sense of strangeness. If we look at the quarto of 1611, the third such edition printed in Shakespeare\u2019s lifetime but not, as far as we know, under his supervision, we find here a reproduction with a more recent but still antiquated technique, from early in the twentieth century, rendering the text in ghostly white letters, and adding an additional layer of strangeness. But the text itself is much closer to our modern expectations, and the language at the end conforms to what most editors, from Rowe onward, have embraced, contra the Folio. And the Newberry does have examples of the kind of theatrical texts that we would long to see, as in the prompt copy from a production in London\u2019s Drury Lane Theatre in the mid-nineteenth century, complete with stage positions, sound effects, and innumerable other details of performance that are so lacking in the text as it has come down to us from Shakespeare\u2019s time. It may serve here to highlight all that we continue not to know about Shakespeare\u2019s stage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Questions to consider:<\/em><\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li>What does it do to our understanding of Shakespeare to examine texts that display subtle and not-so-subtle differences in wording, spelling and punctuation?<\/li>\n\n\n\n<li>The eighteenth-century editions of Shakespeare in the previous section seem sometimes to flatter the tastes and expectations of the readers of their time. Do the folio and quarto editions from Shakespeare\u2019s age do this as well? If so, how, or if not, why?<\/li>\n\n\n\n<li>What kinds of differences in the use of books and their place in culture might be visible from comparing Shakespeare texts from the seventeenth, eighteenth, and nineteenth centuries?<\/li>\n<\/ol>\n\n\n\n<h4 class=\"wp-block-heading\">Ophelia Metamorphosed: European Precursors and Descendants<\/h4>\n\n\n\n<figure class=\"wp-block-image alignleft size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_610771\"><img loading=\"lazy\" decoding=\"async\" width=\"799\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-799x1024.jpg\" alt=\"\" class=\"wp-image-13959\" style=\"width:199px;height:255px\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-799x1024.jpg 799w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-scaled-300x384.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-scaled-600x769.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-234x300.jpg 234w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-768x984.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-1199x1536.jpg 1199w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-1598x2048.jpg 1598w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-scaled.jpg 1998w\" sizes=\"(max-width: 799px) 100vw, 799px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_610771\" target=\"_blank\" rel=\"noreferrer noopener\">Agostini, Niccolo\u0300 and Nicolo\u0300 Zoppino (printer), Tutti gli libri de Ouidio Metamorphoseos, title page (1522)<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">In the last section, we take a few more possible paths into the archive to expand the context and interpretive possibilities for Ophelia\u2019s death. One is to the Roman poet Ovid (43 BCE\u201317\/18 CE), who is most famous for his collection of myths in continuous narrative verse entitled <em>The Metamorphoses<\/em>. This book is among the most persistent influences on Shakespeare\u2019s imagination, not surprising considering its centrality in the Elizabethan grammar school curriculum and in European culture. One possible context for Ophelia\u2019s death are the fates of various maidens in this book. For instance, Ovid\u2019s text features the nymph Daphne who in requesting protection from the pursuit of Apollo, was transformed into a laurel bush, and Syrinx, who escaped Pan by being transformed into reeds. One notes that these transformations \u201csave\u201d these young women in peculiar ways, and although they do not die, they are \u201cindued\u201d (by taking on a different form, thus \u201cadapted\u201d) to natural elements with a permanence that might as well be death. An Italian translation from the sixteenth century indicates the ongoing European fascination in these stories, and gives us an illustration of the metamorphosis scene of Daphne that anticipates Bernini\u2019s celebrated sculpture of the same moment.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_610771-2\"><img loading=\"lazy\" decoding=\"async\" width=\"774\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y_672_o9647_sig_a8v_o2-774x1024.jpg\" alt=\"\" class=\"wp-image-13960\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y_672_o9647_sig_a8v_o2-774x1024.jpg 774w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y_672_o9647_sig_a8v_o2-scaled-300x397.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y_672_o9647_sig_a8v_o2-scaled-600x794.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y_672_o9647_sig_a8v_o2-227x300.jpg 227w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y_672_o9647_sig_a8v_o2-768x1016.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y_672_o9647_sig_a8v_o2-1161x1536.jpg 1161w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y_672_o9647_sig_a8v_o2-1547x2048.jpg 1547w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y_672_o9647_sig_a8v_o2-scaled.jpg 1934w\" sizes=\"(max-width: 774px) 100vw, 774px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_610771-2\" target=\"_blank\" rel=\"noreferrer noopener\">Agostini, Niccolo\u0300 and Nicolo\u0300 Zoppino (printer), Tutti gli libri de Ouidio Metamorphoseos, Image of Daphane metamorphosed (1522)<\/a><\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignright size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_710784\"><img loading=\"lazy\" decoding=\"async\" width=\"797\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-797x1024.jpg\" alt=\"\" class=\"wp-image-13962\" style=\"width:213px;height:273px\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-797x1024.jpg 797w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-scaled-300x385.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-scaled-600x771.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-234x300.jpg 234w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-768x986.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-1196x1536.jpg 1196w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-1595x2048.jpg 1595w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-scaled.jpg 1993w\" sizes=\"(max-width: 797px) 100vw, 797px\" \/><\/a><figcaption class=\"wp-element-caption\"><a rel=\"noreferrer noopener\" href=\"https:\/\/archive.org\/details\/nby_710784\" target=\"_blank\">Richard Strauss, &#8220;Erstes Lied der Ophelia&#8221; (1919)<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">As well, the Newberry has many paths by which one may approach latter-day readers and respondents to Ophelia and other Shakespeare characters that are not editions of the play per se. Included here are a collection of what might be called fan fiction, imagined scenes with various suicides, including a scene of Ophelia\u2019s death that we are not granted in the play by the French writer Charles Nodier (1780-1884). And the great German composer Richard Strauss (1864-1949) provides a twentieth-century imagining of the \u201cold tunes\u201d or \u201cold lauds\u201d that Ophelia might have sung.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><a href=\"https:\/\/archive.org\/details\/nby_576941)\" target=\"_blank\" rel=\"noreferrer noopener\">Selection: Ophelia Fan Fiction. Charles Nodier, <em>Les Tristes<\/em> (1806?)<\/a><\/h5>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper-container\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"621\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13961\" data-id=\"13961\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-621x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-621x1024.jpg 621w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-scaled-300x495.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-scaled-600x989.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-182x300.jpg 182w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-768x1266.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-932x1536.jpg 932w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-1242x2048.jpg 1242w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-scaled.jpg 1553w\" sizes=\"(max-width: 621px) 100vw, 621px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Charles Nodier, Les Tristes, title page (1806?)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"641\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-17000\" data-id=\"17000\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/y762_n6722_pg_121_o2-641x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/y762_n6722_pg_121_o2-641x1024.jpg 641w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/y762_n6722_pg_121_o2-scaled-300x479.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/y762_n6722_pg_121_o2-scaled-600x958.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/y762_n6722_pg_121_o2-188x300.jpg 188w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/y762_n6722_pg_121_o2-768x1227.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/y762_n6722_pg_121_o2-962x1536.jpg 962w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/y762_n6722_pg_121_o2-1282x2048.jpg 1282w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/y762_n6722_pg_121_o2-scaled.jpg 1603w\" sizes=\"(max-width: 641px) 100vw, 641px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Charles Nodier, Les Tristes, 121 (1806?)<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Questions to consider:<\/em><\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li>What are some interpretive dimensions of Gertrude\u2019s speech highlighted by earlier and later contexts?<\/li>\n\n\n\n<li>How much can we read Ophelia\u2019s death as a metamorphosis, one that merges her with the flowers that madly fascinate her in her final scenes on stage?<\/li>\n\n\n\n<li>How much does Shakespeare\u2019s art reward not just reading, not just staging and performance, but other artistic responses, extending the lives of its characters, or giving a musical response instead of an interpretation?<\/li>\n<\/ol>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-getwid-tabs__nav-link\"><span class=\"wp-block-getwid-tabs__title-wrapper\"><a href=\"#\"><span class=\"wp-block-getwid-tabs__title\">Sources<\/span><\/a><\/span><\/div><div class=\"wp-block-getwid-tabs__tab-content-wrapper\"><div class=\"wp-block-getwid-tabs__tab-content\">\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Literary Interpretations of Ophelia<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">This section delves into the various literary portrayals and analyses of Ophelia, focusing on her representation in texts and the evolving interpretations over time.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-995f960e wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_676498\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"615\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-615x1024.jpg\" alt=\"Title page of text with handwriting scribbled throughout the page. \" class=\"wp-image-13948\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-615x1024.jpg 615w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-scaled-300x500.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-scaled-600x999.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-180x300.jpg 180w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-768x1279.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-922x1536.jpg 922w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-1229x2048.jpg 1229w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_07_vol_05_tp_o2-scaled.jpg 1537w\" sizes=\"(max-width: 615px) 100vw, 615px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_676498\" target=\"_blank\" rel=\"noreferrer noopener\">Rowe&#8217;s Edition, <em>The Works of Mr. William Shakespear<\/em>; in six volumes, (1709)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_676509-2\/ys_072_vol_06_hamlet_pg_20_01_o2.jpg\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"834\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_02_o2-834x1024.jpg\" alt=\"Page of text with decorative border at top of page. \" class=\"wp-image-17001\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_02_o2-834x1024.jpg 834w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_02_o2-scaled-300x368.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_02_o2-scaled-600x736.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_02_o2-244x300.jpg 244w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_02_o2-768x943.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_02_o2-1251x1536.jpg 1251w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/ys_072_vol_06_hamlet_pg_20_02_o2-1669x2048.jpg 1669w\" sizes=\"(max-width: 834px) 100vw, 834px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_676509-2\/ys_072_vol_06_hamlet_pg_20_01_o2.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">Pope\u2019s Edition. <em>The Works of Shakespear, Start of Hamlet<\/em>, vol. 6, (1723)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_676537\/ys_0747_vol_08_pg_239_o2.jpg\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"682\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-682x1024.jpg\" alt=\"Single page of text. \" class=\"wp-image-13951\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-682x1024.jpg 682w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-scaled-300x450.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-scaled-600x901.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-200x300.jpg 200w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-768x1153.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-1023x1536.jpg 1023w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-1364x2048.jpg 1364w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/ys_0747_vol_08_pg_239_o2-scaled.jpg 1705w\" sizes=\"(max-width: 682px) 100vw, 682px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_676537\/ys_0747_vol_08_pg_239_o2.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">William Warburton. <em>The Works of Shakespear: in eight volumes. Gertrude&#8217;s Speech<\/em>, vol. 8 (1747)<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-995f960e wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_676537\/ys_0747_vol_08_pg_239_o2.jpg\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"695\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-695x1024.jpg\" alt=\"Single page with two columns of text. \" class=\"wp-image-13956\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-695x1024.jpg 695w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-scaled-300x442.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-scaled-600x884.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-204x300.jpg 204w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-768x1132.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-1042x1536.jpg 1042w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-1389x2048.jpg 1389w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_01_hamlet_pg_276_o2-scaled.jpg 1737w\" sizes=\"(max-width: 695px) 100vw, 695px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_676537\/ys_0747_vol_08_pg_239_o2.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">First Folio, <em>Gertrude&#8217;s Speech<\/em>, (1623)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_674000\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"786\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_737_8_pg_233_o2-1-1024x786.jpg\" alt=\"Two pages. First page of handwriting. Second page of pasted paper filled with text. Both pages have some red underline marks. \" class=\"wp-image-13957\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_737_8_pg_233_o2-1-1024x786.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_737_8_pg_233_o2-1-300x230.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_737_8_pg_233_o2-1-scaled-600x461.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_737_8_pg_233_o2-1-768x589.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_737_8_pg_233_o2-1-1536x1179.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_737_8_pg_233_o2-1-2048x1572.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_674000\" target=\"_blank\" rel=\"noreferrer noopener\">Theaetre Royal, Durry Lane, <em>Macready Prompt Copy<\/em> (1842)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_676537\/ys_0747_vol_08_pg_239_o2.jpg\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"742\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-742x1024.jpg\" alt=\"Single page of white text on a black background. \" class=\"wp-image-13958\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-742x1024.jpg 742w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-scaled-300x414.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-scaled-600x828.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-217x300.jpg 217w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-768x1060.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-1113x1536.jpg 1113w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-1484x2048.jpg 1484w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_ys_719_611_sig_l3r_o2-3-scaled.jpg 1855w\" sizes=\"(max-width: 742px) 100vw, 742px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_676537\/ys_0747_vol_08_pg_239_o2.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">Reproduction of <em>the Quarto of 1611<\/em> (1926)<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\">Cultural and Historical Contexts <\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">These sources may help answer the question- how much does Shakespeare\u2019s art reward not just reading, not just staging and performance, but other artistic responses, extending the lives of its characters, or giving a musical response instead of an interpretation? <\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-995f960e wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_610771\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"799\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-799x1024.jpg\" alt=\"Title page. Image of a man sitting behind a desk resting his head on his hand. This image is surrounded by a decorative border. \" class=\"wp-image-13959\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-799x1024.jpg 799w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-scaled-300x384.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-scaled-600x769.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-234x300.jpg 234w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-768x984.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-1199x1536.jpg 1199w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-1598x2048.jpg 1598w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/case_y672_o9647_tp_o2-scaled.jpg 1998w\" sizes=\"(max-width: 799px) 100vw, 799px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_610771\" target=\"_blank\" rel=\"noreferrer noopener\">Agostini, Niccolo\u0300 and Nicolo\u0300 Zoppino (printer), <em>Tutti gli libri de Ouidio Metamorphoseos<\/em>, (1522)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_576941\/y762_n6722_tp_o2.jpg\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"621\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-621x1024.jpg\" alt=\"Title page of text. \" class=\"wp-image-13961\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-621x1024.jpg 621w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-scaled-300x495.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-scaled-600x989.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-182x300.jpg 182w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-768x1266.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-932x1536.jpg 932w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-1242x2048.jpg 1242w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/y762_n6722_tp_o2-scaled.jpg 1553w\" sizes=\"(max-width: 621px) 100vw, 621px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_576941\/y762_n6722_tp_o2.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">Charles Nodier, <em>Les Tristes<\/em>, (1806?)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_710784\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"797\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-797x1024.jpg\" alt=\"Sheet of music. \" class=\"wp-image-13962\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-797x1024.jpg 797w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-scaled-300x385.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-scaled-600x771.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-234x300.jpg 234w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-768x986.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-1196x1536.jpg 1196w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-1595x2048.jpg 1595w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/vm1621_s909s_op67_pg_03_o2-scaled.jpg 1993w\" sizes=\"(max-width: 797px) 100vw, 797px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_710784\" target=\"_blank\" rel=\"noreferrer noopener\">Richard Strauss, <em>Erstes Lied der Ophelia, <\/em>(1919)<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-getwid-tabs__nav-link\"><span class=\"wp-block-getwid-tabs__title-wrapper\"><a href=\"#\"><span class=\"wp-block-getwid-tabs__title\">Further Reading<\/span><\/a><\/span><\/div><div class=\"wp-block-getwid-tabs__tab-content-wrapper\"><div class=\"wp-block-getwid-tabs__tab-content\">\n<h4 class=\"wp-block-heading\">Further Reading<\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Bate, Jonathan. <em>Shakespeare and Ovid<\/em>. Oxford: Oxford University Press, 1993.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Benjamin, Walter. \u201cThe Work of Art in the Age of Mechanical Reproduction.\u201d In <em>Illuminations: Essays and Reflections<\/em>, edited by Hannah Arendt, translated by Harry Zohn, 217\u201351. New York: Schocken Books, 1969.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Grafton, Anthony. <em>The Footnote: A Curious History<\/em>. Cambridge, Massachusetts: Harvard University Press, 1997.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lipking, Lawrence. \u201cThe Marginal Gloss.\u201d <em>Critical Inquiry<\/em> 3 (Summer 1977): 609\u201355.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p><em>What does the archive offer for the exploration of Shakespeare in the digital age?<\/em><\/p>\n","protected":false},"author":1,"featured_media":15014,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[94,89,103,83,84,164],"tags":[168,171],"class_list":["post-14400","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-16th-century","category-17th-century","category-18th-century","category-19th-century","category-20th-century","category-collection-essays","tag-literature","tag-women"],"blocksy_meta":{"styles_descriptor":{"styles":{"desktop":"","tablet":"","mobile":""},"google_fonts":[],"version":6}},"acf":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/10\/ys_072_vol_06_hamlet_pg_20_03_o2-scaled-e1602874714191.jpg","_links":{"self":[{"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/posts\/14400","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=14400"}],"version-history":[{"count":21,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/posts\/14400\/revisions"}],"predecessor-version":[{"id":24132,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/posts\/14400\/revisions\/24132"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/media\/15014"}],"wp:attachment":[{"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=14400"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=14400"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=14400"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}