Catholic Bias in Clare Asquith's 2005 book "Shadowplay" (Part 11: Religious Bias in Shakespeare Scholarship)

Clare Asquith’s 2005 book, Shadowplay, is interesting in spite of weaknesses that reviewers have noted. (In the New York Review of Books, one can read James Shapiro's review of her more recent book, whcih mentions Shadowplay, either with a subscription or by registering for free.)
While significant numbers of scholars still cling either to the idea of a Protestant Shakespeare, or of a Shakespeare whose religious allegiances don’t matter, Asquith is among those committed to the idea of of a secretly Catholic Shakespeare who used analogies or coded messages to carefully convey messages that were at odds with or critical of the religious and political status quo. More scholars (like E. A. J. Honigmann and Stephen Greenblatt, mentioned in the blog post here last week) tend to agree with Asquith’s conclusion about Shakespeare’s religious sympathies, but many may question how Asquith arrives there.


For A Midsummer Night’s Dream, Asquith assumes the tall and fair-haired Helena is Catholic, the shorter and darker-haired Hermia Protestant. It may be easier to imagine that the feud between Montegues and Capulets in Romeo and Juliet is an analogy for England’s feuding Protestants and Catholics. But is the opposition of Helena’s father to the idea of his daughter choosing her own marriage partner meant to appeal to parents (like Shakespeare himself) who were torn, sometimes on religious grounds, regarding their child's marriage? Perhaps. But was the “code” really so simple as tall-fair Catholics, and short-dark Protestants? I’m not convinced.

Richard Wilson (Secret Shakespeare),
Leah Marcus (Puzzling Shakespeare)
,
Annabel Patterson (Censorship and Interpretation)
,
and Marcus Hunt (Shakespeare’s Religious Allusiveness) each envision richer and more convincing ways that Shakespeare seems to have included many veiled and sometimes fragmented topical, political and religious analogies in his plays than Asquith does.

In her reading of Hamlet, for example, Asquith is too focused on Hamlet as reminding early audiences of Philip Sydney, at the expense of many other possibilities (James, Essex, Elizabeth). Some of the layers of possible references may have been included in part to obscure others, Leah Marcus and Annabel Patterson might say.

Asquith is also too dedicated to the idea that the ghost represents the old (religious) order and is therefore Catholic and from purgatory. But just because Catholics believe in purgatory doesn’t mean the ghost can’t be a devil in disguise, even for Catholics.

It is quite possible, as Asquith claims, that Claudius is meant to seem Protestant, especially in his private confession, in prayer, of his sin. But he and the ghost may also evoke memories of Henry VIII both before and after his break from Catholicism, as if Shakespeare not only made composite characters out of various historical figures (as with Prince Hamlet), but may also have split aspects of single historical figures (Henry VIII) into two characters (Claudius and ghost).

Although Asquith’s Catholic and personal biases sometimes get the best of her reasoning, it’s a thought-provoking book.

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Series on Religious (and a few other) Biases in Shakespeare Scholarship:
1. Biases & Assumptions Influence What We Notice, Seek, or Neglect - 11 January, 2022
https://pauladrianfried.blogspot.com/2022/01/biases-assumptions-influence-what-we.html

2. Religious Bias in Shakespeare/Hamlet Scholarship - 18 January, 2022
https://pauladrianfried.blogspot.com/2022/01/part-2-factors-contributing-to.html

3. Victors Wrote the Histories of Shakespeare and Francis of Assisi - 25 January, 2022
https://pauladrianfried.blogspot.com/2022/01/victors-wrote-history-of-shakespeare.html

4. Biblical Seeds of Secular Shakespeare Bias - 1 February, 2022
https://pauladrianfried.blogspot.com/2022/02/biblical-seeds-of-secular-shakespeare.html

5. Catholic Bias in Simon Augustus Blackmore - 8 February, 2022
https://pauladrianfried.blogspot.com/2022/02/catholic-bias-in-simon-augustus.html

6. Nietzschean & Christian-Mythical Bias in G. Wilson Knight - 15 February, 2022
https://pauladrianfried.blogspot.com/2022/02/nietzschean-christian-mythical-bias-in.html

7. Roland Frye's Protestant Bias - 22 February, 2022
https://pauladrianfried.blogspot.com/2022/02/roland-fryes-protestant-bias.html

8. Gatekeeping and Religious Turns in Shakespeare Scholarship - 1 March, 2022
https://pauladrianfried.blogspot.com/2022/03/gatekeeping-and-religious-turns-in.html

9. Honigmann, Hammerschmidt−Hummel, and Moses' Shoes - 8 March, 2022
https://pauladrianfried.blogspot.com/2022/03/taking-off-shoes-in-presence-of.html

10. Protestant Bias in Arthur McGee's 1987 book, "The Elizabethan Hamlet" - 15 March, 2022
https://pauladrianfried.blogspot.com/2022/03/protestant-bias-in-arthur-mcgees-1987.html

11. Catholic Bias in Clare Asquith's 2005 book, "Shadowplay" - 22 March, 2022
https://pauladrianfried.blogspot.com/2022/03/catholic-bias-in-clare-asquiths-2005.html

12. Protestant and authoritarian bias in Roy W. Battenhouse - 29 March, 2022
https://pauladrianfried.blogspot.com/2022/03/battenhouses-authoritarian-protestant.html


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Disclaimer: If and when I quote or paraphrase bible passages or mention religion in many of my blog posts, I do not intend to promote any religion over another, nor am I attempting to promote religious belief in general; only to point out how the Bible and religion may have influenced Shakespeare, his plays, and his age.
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Thanks for reading!
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My current project is a book tentatively titled Hamlet’s Bible, about biblical allusions and plot echoes in Hamlet.

Below is a link to a list of some of my top posts (“greatest hits”), including a description of my book project (last item on the list):

https://pauladrianfried.blogspot.com/2019/12/top-20-hamlet-bible-posts.html

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Comments

  1. From Goodreads: "Shadowplay" is a surprisingly quick read if one has an interest in the material. Clare Asquith has written a book that explores Shakespeare's Catholic politics (her thesis) and then proceeds to interweave a chronological analysis of these beliefs as presented in code in his plays. This she intermixes with what is happening in historical England at the time. The result is intriguing to say the least. Whether or not it is true is another matter.
    First off, I strongly feel that this book is not worth your time if you have not read most of Shakespeare's work, including the narrative poems. There are too many very detailed references to his plays, plus numerous spoilers of some of his lesser known works. I would imagine that if you had not read the play that Ms. Asquith was referencing the text would be hard to follow. The book is also written in an academic style and I believe it would not be enjoyable for someone who is a casual Shakespeare fan. Historical knowledge of the period is also a major plus. When I was unfamiliar with the Shakespeare text she was examining I could usually follow the historical references she was connecting to the play.
    Ms. Asquith makes compelling arguments for her thesis, but sometimes she assumes too much for me to go along. I first noticed this in the section of the book called "By My Two Faiths" where too many leaps are taken without any proof rendered. I also could not go along with Asquith's contention that the character of Hamlet was a surrogate for Sir Philip Sidney. It is an idea she does not adequately provide evidence for and I thought it a bit much. However, her weakest leap of faith is her conspiracy theory about Shakespeare's play "Henry VIII". Again, no evidence is given other than conjecture, thus her assumptions are unconvincing. Her thoughts on this play are the stuff of movies, and do her considerable book and her obvious intellect a disservice.
    Still, there are moments in the text where Asquith's ideas seem the only plausible explanation. This is especially notable in her section on Shakespeare's sonnets. Her study and interpretation of them give many of these pieces a sense and lucidity that they never held for me before I read her ideas about them. Also compelling is her argument for "Twelfth Night" as a coded work. Her connection between the plot and action of the play and historical context are very well done. It is hard to not be convinced by Ms. Asquith when she renders support for her ideas.
    I won't speak to the validity of the premise of "Shadowplay". Arguments for and against Asquith's theories have ample support. But one thing I will say is that I do not feel that "Shadowplay" is a text to be taken lightly, and I certainly don't see it as a disservice to the study of Shakespeare. Your appreciation of the Bard will be enhanced by this text, whether you agree with Ms. Asquith or not. I still don't know how I feel about her ideas, I am inclined to disagree with them, but I am glad that I read this book.

    I agree with this critical review.

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