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• W286715071 abstract "Vintage Shakespeare: New Perspectives From India and Abroad, eds. Prashant K. Sinha and Mohini Khot, Jaipur: Book Enclave, 2010. Pp. 240. ISBN 978-81-8152-271-9.As the full title of the book suggests, Vintage Shakespeare: New Perspectives from India and Abroad, offers a varied range of perspectives on the Bard's plays. Edited by Prashant K. Sinha and Mohini Khot, the book includes articles on Culture Studies, Feminism, New Historicism and Indian poetics. That in the process of the dissemination of the Bard's canon, the tragedies have been privileged over other genres is manifested clearly, as most of the articles in this book discuss tragedies and more specifically Hamlet. Some essays also discuss Hamlet along with other plays.R. W. Desai's article is an attempt to unravel Ambivalence toward His Profession (66-92). The first section of the essay comments on the elements of self-reflexivity in Hamlet. That Hamlet is a play which hinges largely on its involvement with the profession of the Bard, is justified in the light of two well known sonnets 110 and 111. The deliberate theatricality of the play has been deployed to uncover the conflict within the author. Hamlet's own involvement in the theatrical practice within the play, the instructions given to the players finally becomes an ironic strategy to underscore that conflict. The character of Hamlet as an analogue of Shakespeare himself is delineated by drawing upon the theatrical tradition. But Desai moves beyond simply reiterating the trend of biographical criticism. In the next two sections, Desai examines how the theatrical technique of Hamlet is fundamental to Elizabethan theatre, and provides a model for twentieth century theatre as reflected in Pirandello's Six Characters in Search of an Author. The article becomes most informative when Desai offers us a history of the performance of the play's different versions in different productions during Shakespeare's own time, specifically pointing out the variations in Ql and Q2 and F.Mohini Khot's To Play or Not to Play (Roles Women Play at Elsinore) (117-30), shows how the individual gains social subjectivity by choosing to play roles. For the characters of Hamlet playing roles becomes a means to secure their own societal position which in turn maintains the stability of the state apparatus. Adopting almost a feminist standpoint, she points out how the roles, decisive for the mechanism of the state authority, are played mostly by the male characters of the play. But playing roles also entails concealing one's true disposition: Claudius, concealing the embedded cruelty of his character primarily plays the role of a living father to stop forces, detrimental to his throne, ensuing from Hamlet's part. Courtiers like Polonius and commoners like Rosencrantz and Guildenstern all play roles to secure the throne of Claudius and stop Hamlet from jeopardizing the stability of the throne. Pitted sharply against men, women do not voluntarily participate in the game of role playing. Khot argues that women engage themselves in role playing only to contribute to the schemes of the male members of the society. Ophelia's identity is thus constructed by Polonius and Leartes and also by Hamlet. If on one hand, Ophelia is asked to play a role to get some inkling of Hamlet's mind by Polonius and Leartes, Hamlet uses her to send back the confusing message of 'madness'. Thus Khot's essay is an interesting exposure of how Ophelia's own role is caught up within the conflicting forces of the male members of her society. Gertrude's role is precarious too. Khot perceives her as a mother who quickly steps into the role of the new queen in order to retain state authority and secure the throne of Denmark for Hamlet by ensuring that Claudius does not marry any young woman and beget another claimant for the throne.That the first scene of Hamlet structures the whole play, is evident from question papers circulated among students in academic institutions. …" @default.
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