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• W300430923 abstract "AS ALWAYS, there is distinction between substance and form. My own theoretical interests lead me to ponder shaping of Harry Berger's commentaries into what is clearly an essayistic form. On role of commentary in criticism of Shakespeare, I shall indeed have something to say. Initially, however, I am struck by a persistent theme in these essays, and by its uncanny pertinence to broader problems of understanding American attitudes in present period. This is theme of complicitous bad faith, which inevitably becomes Berger's chief concern, as soon as he develops his affinity with Shakespearean commentaries of Stanley Cavell. Berger has been thinking about hidden complicities of Shakespearean characters for years, but use of Cavell's acknowledgment-thesis gives a yet sharper edge to proceedings. Throughout plays discussed here, Berger finds different aspects of a behavior Cavell relates to acknowledgment--if I do not know something, Cavell says, that implies a blank spot of ignorance; there's something missing in body of my knowledge. But if I fail or refuse to something, point is that almost opposite situation pertains: A `failure to acknowledge' is presence of something, a confusion, an indifference, a callousness, an exhaustion, a coldness. Cavell most powerfully aligns this second failure, this acknowledgment-gap, when (like Berger) he shows that, in Lear and elsewhere, characters refuse or fail to reveal themselves to others, and in that masking gesture fail to acknowledge We are looking at tremendously complex system of ethical reciprocations which add up to workings of a community, and as soon as we include an emotional inwardness and deeper self in our account, we almost perforce enter field of complicity. This term has achieved a sort of neutrality, so that it falls short of conspiratorial involvement in wrongdoing, although one is surprised to learn that complicit as meaning criminal involvement is a very late (twentieth-century) usage. The remarkable thing, then, is that Berger can show such atmospheres and activities of personal, social, and political complicity in plays. He can show that Rumor is far more than a convenient personification for a history play, Duke in Measure for Measure something rather more devious and controlling than even his detractors had thought, that of honor is more sharply shot through with dishonoring doubleness than we can imagine Hotspur laboring against. Many of self-reflexive undoings of character we associate most extremely, let us say, with an Iago or a Claudius are to be found throughout texture of whole plays. And that, Berger argues, is a consequence of nature of dramatic discourse. On this idea, he is flexible; it helps to take his view (Discourse is sort of modest, recessive term people use to define and discuss other things without bothering to define and discuss it. As a result it has become an all-purpose instrument denoting anything from narrow confines of a speech event to amplitude of social and political practices). Berger gives a catalogue of typical recent usages, from Benveniste, Greimas, Foucault, and others. I read this book's usage as implying that a discourse (for example, the villain's discourse, or the sinner's discourse) is a discernible elaboration of a set of language-games which gives fashion in which a dramatic character speaks and bespeaks his characteristic approach to life. As Berger argues in many ways, and in great depth for different persons in plays, each discourse carries with it its own rationale or scenario, or, in older sense, its argument (231). This emphasis on discourse involves a problematic notion of Shakespearean drama in general, which it is Berger's purpose to develop in light of his apparent distaste for performance-centered criticism, and against which he counterposes a strongly text-centered criticism. …" @default.
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• W300430923 date "1999-01-01" @default.
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• W300430923 title "Complicity and the Genesis of Shakespearean Dramatic Discourse" @default.
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