METATHEATRE/METADRAMA IN SHAKESPEAREAN PLAYS
I. ’role-playing-within a role’
- comic scizophrenia: The Comedy of Errors
- tragic scizophrenia: Richard III
- gender-scizophrenia: As You Like It - acting, Twelfth Night – ’monster’
II. ’play extempore’ Henry IV. Part 1 / the FOOL
III. ’play-within-the-play’ with onstage audience and commentators (also MND)
- Hamlet, F
- King Lear
IV. comments on contemporary theatre/theatre in general – Henry V, Hamlet, Q vs F (also MND)
V. ’theatrum mundi’ concept – The Tempest, As You Like It
HENRY V. PROLOGUE
Chorus
O for a Muse of fire, that would ascend
The brightest heaven of invention,
A kingdom for a stage, princes to act
And monarchs to behold the swelling scene!
Then should the warlike Harry, like himself,
Assume the port of Mars; and at his heels,
Leash'd in like hounds, should famine, sword and fire
Crouch for employment. But pardon, and gentles all,
The flat unraised spirits that have dared
On this unworthy scaffold to bring forth
So great an object: can this cockpit hold
The vasty fields of France? or may we cram
Within this wooden O the very casques
That did affright the air at Agincourt?
O, pardon! since a crooked figure may
Attest in little place a million;
And let us, ciphers to this great accompt,
On your imaginary forces work.
Suppose within the girdle of these walls
Are now confined two mighty monarchies,
Whose high upreared and abutting fronts
The perilous narrow ocean parts asunder:
Piece out our imperfections with your thoughts;
Into a thousand parts divide on man,
And make imaginary puissance;
Think when we talk of horses, that you see them
Printing their proud hoofs i' the receiving earth;
For 'tis your thoughts that now must deck our kings,
Carry them here and there; jumping o'er times,
Turning the accomplishment of many years
Into an hour-glass: for the which supply,
Admit me Chorus to this history;
Who prologue-like your humble patience pray,
Gently to hear, kindly to judge, our play.
Hamlet Quarto 1 (1602) ’bad quarto’
HAMLET: And – do you hear? – let not your Clown speak more than is set down. There be of them, I can tell you, that will laugh themselves to set on some quantity of barren spectators to laugh with them – albeit there is some necessary point in the play then to be observed. O, ’tis vile and shows a pitiful ambition in the fool that useth it. And then you have some again that keeps one suit of jests – as a man is known by one suit of apparel – and gentlemen quotes his jests down in their tables before they come to the play, as thus: ’Cannot you stay till I eat my porridge?’ and ’You owe me a quarter’s wages’ and ’My coat wants a cullison!’ and ’Your beer is sour!’ and, blabbering with his lips and thus keeping in his cinquepace of jests when, God knows, the warm Clown cannot make a jest unless by chance – as the blind man catcheth a hare – masters, tell him of it.’ (Q1 9. 23-38).
As You Like It
DUKE SENIOR
Thou seest we are not all alone unhappy:
This wide and universal theatre
Presents more woeful pageants than the scene
Wherein we play in.
JAQUES
All the world's a stage,
And all the men and women merely players:
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages.
The Tempest
PROSPERO
You do look, my son, in a moved sort,
As if you were dismay'd: be cheerful, sir.
Our revels now are ended. These our actors,
As I foretold you, were all spirits and
Are melted into air, into thin air:
And, like the baseless fabric of this vision,
The cloud-capp'd towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Ye all which it inherit, shall dissolve
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep.