Oxford Wells Shakespeare Lecture 2: Shakespeare's Timeline

Shakespeare memorial

For almost two centuries, Shakespeare had no biography. Neither did he have the structure of a biography (a chronology), nor the materials for one (an archive). And his canon did not include the Sonnets (his only work written in the first person). In sum, the mainstays of modern Shakespeare criticism were simply not there. Does this mean that Shakespeare was not valued or understood until after 1800? Each of these four lectures will focus on one of those critical absences, not as an empty place holder for what eventually is to come, but as evidence that other viable priorities were once at work.

Lecture 2: Shakespeare's Timeline

How is it possible to make sense of Shakespeare’s canon without the chronology? How could we interrelate his works with his life and times without knowing when he wrote them? How could we track his development through the course of his writing life? Yet no chronology for the plays was attempted until the late eighteenth century, and it was not standard to follow that order in either Complete Works editions or in Shakespeare criticism until the mid-twentieth century. Before that, from the publication of the First Folio, the presiding category had been genre, even when the plays were found intractable to it. Yet, in time, genre itself was brought under the sway of the order in which Shakespeare was thought to have written his plays, so that it could be said that genre, from early comedy to late romance, was made to follow the developing course of biography.

 

24 October Lecture 1: Shakespeare without a Life

7 November Lecture 3: The Archive and its Discontents

14 November Lecture 4: Shakespeare's Dateless Sonnets

 

Margreta de Grazia

Margreta de Grazia is the author of Shakespeare Verbatim (Oxford, 1991), on the emergence of the modern editorial tradition, and “Hamlet” without Hamlet (Cambridge, 2007), on how the modern psychologizing of Hamlet has effaced the play’s preoccupation with land and entitlement. She has also co-edited Subject and Object in Renaissance Culture (Cambridge, 1996) with Maureen Quilligan and Peter Stallybrass as well as the Cambridge Companion to Shakespeare (2001) and the New Cambridge Companion to Shakespeare (2010), both with Stanley Wells. She has received fellowship awards from the Folger Library, the American Council of Learned Societies, the National Humanities Center and the Guggenheim Foundation. She is the Sheli Z. and Burt X. Rosenberg Emerita Professor of the Humanities at the University of Pennsylvania.

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