Antonio’s Sadness in the Stoic Theatrum Mundi of the Early Modern City

Publikation: Bidrag til tidsskriftTidsskriftartikelForskningpeer review

Resumé

Antonio's opening claim in The Merchant of Venice, that he is ‘so sad’ because he has been given a sad role on the world stage, has often been neglected in the history of the play's reception. The present analysis begins with an examination of central passages to clarify the role of sadness in relation to the trope of the theatrum mundi. It shows that the sadness is persistent and earnest, and that this is caused by an understanding of the meaning of the theatrum mundi, which has hitherto been overlooked. The article then considers the historical light in which the theatrum mundi should be seen in the context of the play with respect to the prior textual analysis. The suggestion is that in relation to both the intellectual history of ideas and to Elizabethan audience-response, the play negotiates a Christian-Stoic version of the theatrum mundi without breaking away from the genre of comedy and paradoxically not abandoning Antonio's sadness.

OriginalsprogEngelsk
TidsskriftOrbis Litterarum
Vol/bind74
Udgave nummer4
Sider (fra-til)264-277
ISSN0105-7510
DOI
StatusUdgivet - 17. jul. 2019

Fingeraftryk

Stoics
Modern Cities
Elizabethan Age
Comedy
The Merchant of Venice
Reception
Tropes
Intellectual History
History of Ideas
Textual Analysis
History

Emneord

  • Shakespeare
  • The Merchant of Venice
  • Theatrum mundi
  • world theatre
  • Stoicism
  • Sadness

Citer dette

@article{af54bdebacd049ad92db48e71093c696,
title = "Antonio’s Sadness in the Stoic Theatrum Mundi of the Early Modern City",
abstract = "Antonio's opening claim in The Merchant of Venice, that he is ‘so sad’ because he has been given a sad role on the world stage, has often been neglected in the history of the play's reception. The present analysis begins with an examination of central passages to clarify the role of sadness in relation to the trope of the theatrum mundi. It shows that the sadness is persistent and earnest, and that this is caused by an understanding of the meaning of the theatrum mundi, which has hitherto been overlooked. The article then considers the historical light in which the theatrum mundi should be seen in the context of the play with respect to the prior textual analysis. The suggestion is that in relation to both the intellectual history of ideas and to Elizabethan audience-response, the play negotiates a Christian-Stoic version of the theatrum mundi without breaking away from the genre of comedy and paradoxically not abandoning Antonio's sadness.",
keywords = "Shakespeare, The Merchant of Venice, Theatrum mundi, world theatre, Stoicism, Sadness, Shakespeare, The Merchant of Venice, Sadness, Theatrum mundi, Stoicism, world theatre, sadness, theatrum mundi",
author = "Rasmus Vangshardt",
note = "Shakespeare, The Merchant of Venice, theatrum mundi, world theatre, Stoicism, sadness",
year = "2019",
month = "7",
day = "17",
doi = "10.1111/oli.12228",
language = "English",
volume = "74",
pages = "264--277",
journal = "Orbis Litterarum",
issn = "0105-7510",
publisher = "John Wiley & Sons Ltd",
number = "4",

}

Antonio’s Sadness in the Stoic Theatrum Mundi of the Early Modern City. / Vangshardt, Rasmus.

I: Orbis Litterarum, Bind 74, Nr. 4, 17.07.2019, s. 264-277.

Publikation: Bidrag til tidsskriftTidsskriftartikelForskningpeer review

TY - JOUR

T1 - Antonio’s Sadness in the Stoic Theatrum Mundi of the Early Modern City

AU - Vangshardt, Rasmus

N1 - Shakespeare, The Merchant of Venice, theatrum mundi, world theatre, Stoicism, sadness

PY - 2019/7/17

Y1 - 2019/7/17

N2 - Antonio's opening claim in The Merchant of Venice, that he is ‘so sad’ because he has been given a sad role on the world stage, has often been neglected in the history of the play's reception. The present analysis begins with an examination of central passages to clarify the role of sadness in relation to the trope of the theatrum mundi. It shows that the sadness is persistent and earnest, and that this is caused by an understanding of the meaning of the theatrum mundi, which has hitherto been overlooked. The article then considers the historical light in which the theatrum mundi should be seen in the context of the play with respect to the prior textual analysis. The suggestion is that in relation to both the intellectual history of ideas and to Elizabethan audience-response, the play negotiates a Christian-Stoic version of the theatrum mundi without breaking away from the genre of comedy and paradoxically not abandoning Antonio's sadness.

AB - Antonio's opening claim in The Merchant of Venice, that he is ‘so sad’ because he has been given a sad role on the world stage, has often been neglected in the history of the play's reception. The present analysis begins with an examination of central passages to clarify the role of sadness in relation to the trope of the theatrum mundi. It shows that the sadness is persistent and earnest, and that this is caused by an understanding of the meaning of the theatrum mundi, which has hitherto been overlooked. The article then considers the historical light in which the theatrum mundi should be seen in the context of the play with respect to the prior textual analysis. The suggestion is that in relation to both the intellectual history of ideas and to Elizabethan audience-response, the play negotiates a Christian-Stoic version of the theatrum mundi without breaking away from the genre of comedy and paradoxically not abandoning Antonio's sadness.

KW - Shakespeare

KW - The Merchant of Venice

KW - Theatrum mundi

KW - world theatre

KW - Stoicism

KW - Sadness

KW - Shakespeare

KW - The Merchant of Venice

KW - Sadness

KW - Theatrum mundi

KW - Stoicism

KW - world theatre

KW - sadness

KW - theatrum mundi

U2 - 10.1111/oli.12228

DO - 10.1111/oli.12228

M3 - Journal article

VL - 74

SP - 264

EP - 277

JO - Orbis Litterarum

JF - Orbis Litterarum

SN - 0105-7510

IS - 4

ER -