Shakespeare and the Idea of Late Writing : Authorship in the Proximity of Death

What do we mean when we speak of the 'late style' of a given writer, artist or composer? And what exactly do we mean by 'late Shakespeare'? Gordon McMullan argues that, far from being a natural phenomenon common to a handful of geniuses in old age or in proximity to death, late style is in fact a critical construct. Taking Shakespeare as his exemplar, he maps the development of the 'discourse of lateness' from the eighteenth century to the present, noting not only the mismatch between that discourse and the actual conditions for authorship in early modern theatre but also its generativity for subsequent projections of creative selfhood. He thus offers the first critique of the idea of late style, which will be of interest not only to literature specialists but also to art historians, musicologists and anyone curious about the relationship of creativity to old age and to death. Half-title......Page 3 Title......Page 5 Copyright......Page 6 Dedication......Page 7 Contents......Page 9 Acknowledgements......Page 11 Introduction......Page 15 1.1 La dernière période......Page 38 1.2 Late style in the wake of war: Neumann, Broch, Adorno......Page 46 1.3 The shapes of lateness......Page 56 1.4 Late Shakespeare......Page 64 1.5 Shakespeare and the idea of late writing......Page 74 CHAPTER 2 The Shakespearean caesura: genre, chronology, style......Page 79 2.1 A question of genre......Page 80 2.2 A question of chronology......Page 92 2.3 A question of style......Page 118 CHAPTER 3 The invention of late Shakespeare: subjectivism and its discontents......Page 141 3.1 ‘Dramatick perfection’: Malone and the establishment of a chronology......Page 142 3.2 Inventing late Shakespeare from Coleridge to Dowden......Page 150 3.3 The backlash: (post) subjectivism from Strachey to Bond......Page 174 3.4 ‘A certain mastery’: Henry James and the elusive late Shakespeare......Page 182 CHAPTER 4 Last words/late plays: the possibility and impossibility of late Shakespeare in early modern culture and theatre......Page 204 4.1 Premodern endings......Page 207 4.2 The Shakespearean swan song......Page 216 4.3 Last words......Page 229 4.4 Late style and the conditions of theatrical production in early modern London......Page 239 CHAPTER 5 How old is ‘late’? Late Shakespeare, old age, King Lear......Page 273 5.1 Old-age style......Page 274 5.2 Old-age style without old age......Page 285 5.3 Shakespeare’s middle years......Page 298 5.4 ‘I have a journey, sir, shortly to go’: King Lear as a late play......Page 308 5.5 Kings and desperate men......Page 328 CHAPTER 6 The Tempest and the uses of late Shakespeare in the theatre: Gielgud, Rylance, Prospero......Page 332 6.1 Theatre of complicity......Page 334 6.2 Lateness and the mid-life crisis......Page 341 6.3 Performing late selfhood: Gielgud, Prospero, Shakespeare......Page 345 6.4 Authorship and authenticity: Rylance, Prospero, Shakespeare......Page 351 6.5 Postscript: late style in Australia: Bell, Prospero, Shakespeare......Page 364 Introduction......Page 368 1 Shakespeare and the idea of late writing: authorship in the proximity of death......Page 370 2 The Shakespearean caesura: genre, chronology, style......Page 373 3 The invention of late Shakespeare: subjectivism and its discontents......Page 380 4 Last words/late plays: the possibility and impossibility of late Shakespeare in early modern culture and theatre......Page 388 5 How old is ‘late’? Late Shakespeare, old age, King Lear......Page 396 6 The Tempest and the uses of late Shakespeare in the theatre: Gielgud, Rylance, Prospero......Page 401 Index......Page 408 What Do We Mean When We Speak Of The 'late Style' Of A Given Writer, Artist Or Composer? And What Exactly, Then, Do We Mean When We Speak Of 'shakespeare's Late Style' Or Shakespeare's Late Work? In Shakespeare And The Idea Of Late Writing, Gordon Mcmullan Argues That - Far From Being A Natural Phenomenon Common To A Handful Of Geniuses Who, In Their Last Few Years, Enter A Rejuvenated Period Of Serene, Abstract Or (sometimes) Difficult, Resistant Creativity, A Transition Typically Attributed To Old Age Or To The Proximity Of Death - Late Style Is In Fact A Critical Construct. Taking Shakespeare As His Exemplar, He Maps The Development Of The Idea Of The 'late Plays' From The Later Eighteenth Century To The Present, Noting Not Only The Mismatch Between What He Call The 'discourse Of Lateness' And The Actual Conditions Of Production And Of Authorship In Early Modern Theatre But Also The Generativity Of This Discourse For Subsequent Projections Of Creative Selfhood. This Book Offers The First Full Critique Of The Idea Of Late Style And Will Therefore Be Of Interest Not Only To Literature Specialists But Also To Art Historians And Musicologists And To Anyone Curious About The Relationship Of Creativity To Old Age And To Death.--jacket. Shakespeare And The Idea Of Late Writing : Authorship In The Proximity Of Death -- The Shakespearean Caesura : Genre, Chronology, Style -- The Invention Of Late Shakespeare : Subjectivism And Its Discontents -- Last Words/late Plays : The Possibility And Impossibility Of Late Shakespeare In Early Modern Culture And Theatre -- How Old Is 'late'? : Late Shakespeare, Old Age, King Lear -- The Tempest And The Uses Of Late Shakespeare In The Theatre : Gielgud, Rylance, Prospero. Gordon Mcmullan. Includes Bibliographical References (p. 354-393) And Index. This book is an account of the ways in which we have come to understand Shakespeare's final plays as an instance of the idea of 'late style'. It will be of interest to literature specialists, musicologists and art historians, and anyone curious about the relationship of creativity to death.