The issue of succession is significant in many of Shakespeare's plays, especially the history plays, which include the two historical tetralogies (Richard II, Henry IV, Parts One and Two, and Henry V; and Henry VI, Parts One, Two, and Three, and Richard III) as well as King John. Scholars explain that the topic figures so prominently in Shakespeare's work due to the fact that Queen Elizabeth, the “virgin queen,” had no heirs. Additionally, doubts about Elizabeth's own legitimacy as the rightful monarch plagued her reign. Among Shakespeare and his contemporaries, therefore, questions regarding lineage, legitimacy, and succession were commonly circulated. The plays' relation to this historical issue is of the utmost interest to a number of critics, many of whom attempt to assess what Shakespeare's own political sympathies were. The topic of succession is important in Shakespeare's tragedies as well, notably in Macbeth and Hamlet. The parallels between the transfer of power from Queen Elizabeth to King James—a highly charged political concern at the time these tragedies were written—provides another source for the critical evaluation of succession in Shakespeare's plays.
In King John, Shakespeare explored the issue of what establishes a “right” to the throne of England. William H. Matchett (1962) reviews this topic, noting that King John usurped the throne from Arthur, the rightful ruler, but that Philip the Bastard seems to possess the qualities of a true king. In the end, Matchett argues, neither power nor prestige count for much. Rather, true honor is possessed by the rightful king, and this trait is based on duty, that is, on what is best for England. Like Matchett, Robert Lane (1995) investigates the subject of succession in King John. Lane demonstrates that both King John and Queen Elizabeth's reigns were marred by doubts about legitimacy. The play highlights these similarities, Lane states, by examining a number of issues, including the people's involvement in the process of selecting a successor. Phyllis Rackin (1990) takes a broader approach to the topic of succession, studying the way two Renaissance theories of historical succession, or causation, are portrayed in the historical plays. Rackin identifies the conflict between providential and Machiavellian outlooks on historical causation as the genesis of the “theatrical energy” of the plays. This conflict is represented in different ways in the history plays. For example, Rackin maintains that in Richard III Shakespeare forced a sense of providential order on the chaos that arose from the Machiavellian power struggles in the Henry VI plays, but in King John he advocated a Machiavellian approach to kingship. William C. Carroll (1992) also reviews the apparent providentialism of Richard III. Carroll finds that although it seems that the Tudor myth of providential succession is portrayed in the play, in fact the principles of social order, including that of succession, are compromised, and that Shakespeare reveals a certain skepticism regarding the nature of logical succession.
The issue of succession in Macbeth is revealed in the play's concern with children and babies; that is, heirs, maintains Sarah Wintle and René Weis (1991). While King James I, who succeeded Elizabeth and who reigned at the time Macbeth was written, had children and an heir, he was nevertheless concerned with legitimacy and succession, and was known to be obsessed with his own ancestry. Wintle and Weis find parallels between the play's concerns and those of James I. Like Wintle and Weis, Jonathan Baldo (1996) finds links between James I, his style of rule, and Macbeth. Unlike Elizabeth, who stressed her legitimacy through theatrical demonstrations of power, James, a more aloof ruler, addressed concerns related to legitimacy by emphasizing lineal succession. Baldo underscores that Macbeth is similarly focused on aloofness as a style of rule, and on lineal succession. Additionally, Baldo comments on the relationship between the character of Malcolm and King James. Concerns regarding King James's journey to the English throne are reflected in Hamlet, argues Stuart M. Kurland (1994). Kurland explores the relationship between the political atmosphere of the play and that in England in the 1590s. During that time, Kurland states, England had grown uneasy due to the possibility that James might capture the English throne through military action. Kurland cautions, however, that despite such parallels, the “militaristic Fortinbras” should not be viewed as a theatrical representation of James, nor does Hamlet necessarily represent Essex, the leader of a failed rebellion against Queen Elizabeth.
Criticism: Succession In The History Plays
SOURCE: “Richard's Divided Heritage in King John,” in Essays in Criticism, Vol. XII, No. 3, July, 1962, pp. 231-53.
[In the following essay, Matchett maintains that the plot of King John focuses on the issue of the “right” to the throne, and studies the claims to the throne of Arthur, John, and the Bastard. The critic asserts that in King Johnthe mark of a true king is decided not by power or prestige, but on the basis of what is best for England.]
In ‘Commodity and Honour in King John’ (University of Toronto Quarterly, April, 1960, 341-56) Mr. James Calderwood demonstrates the essential role of those themes in...
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SOURCE: “Ideological Conflict, Alternative Plots, and the Problem of Historical Causation,” in Stages of History: Shakespeare's English Chronicles, Cornell University Press, 1990, pp. 40-85.
[In the following essay, Rackin identifies a conflict between two Renaissance theories of history, providentialism and Machiavellianism, as alternate explanations of historical causation. This conflict, maintains Rackin, can be found in Shakespeare's history plays, and it is the source of their theatrical energy and the inspiration for the audience's contemplation of the problems related to historical interpretation. Rackin goes on to investigate how this ideological conflict is portrayed in...
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SOURCE: “‘The Form of Law’: Ritual and Succession in Richard III,” in True Rites and Maimed Rites: Ritual and Anti-Ritual in Shakespeare and His Age, edited by Linda Woodbridge and Edward Berry, University of Illinois Press, 1992, pp. 203-19.
[In the following essay, Carroll states that the way in which Richard III explores the failure of ritual reflects the political concerns of the 1590s related to the succession issue. Carroll concludes that the play demonstrates Shakespeare's skeptical attitude toward the “logic of succession.”]
Deformed persons are commonly even with nature, for as nature hath done ill by them, so do they by nature …...
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SOURCE: “‘The Sequence of Posterity’: Shakespeare's King John and the Succession Controversy,” in Studies in Philology, Vol. 92, No. 4, Fall, 1995, pp. 460-81.
[In the following essay, Lane reflects on the ways in which King John addresses the succession crisis of the 1590s, at the end of Queen Elizabeth's reign. Lane explains that the play explores the doubts regarding legitimacy and succession that plagued the reigns of both King John and Queen Elizabeth.]
When Parliament convened in February, 1593 the queen was 59 years old, her age intensifying public concern over that “uncertain certainty,”3 the as-yet unsettled succession on...
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Criticism: Succession In The Tragedies: Hamlet And Macbeth
SOURCE: “Macbeth and the Barren Sceptre,” in Essays in Criticism, Vol. 41, No. 2, April, 1991, pp. 128-46.
[In the following essay, Wintle and Weis examine the relationship between James I's legitimacy issues and Macbeth's concern with succession and legitimacy as revealed through the play's emphasis on children and babies.]
Tragedy often begins with trouble from the children. Among Shakespeare's tragedies King Lear is the most obvious example, although Hamlet runs it a close second. Even Desdemona, as Rymer observed, would not have died if she had obeyed her father1. At the end of most Shakespearean comedy and romance a new...
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SOURCE: “Hamlet and the Scottish Succession,” in Studies in English Literature 1500-1900, Vol. 34, No. 2, Spring, 1994, pp. 279-300.
[In the essay below, Kurland argues that Hamlet portrays the controversy surrounding James's succession to Queen Elizabeth's throne. The political world of Hamlet, explains Kurland, is informed by England's uncertainty generated by James's threats to secure the English throne through military action.]
Surveying earlier topical interpretations of Tudor drama, David Bevington observed in 1968 that “Hamlet offers a rich field for topicality … and reveals perhaps most clearly the basic error of the...
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SOURCE: “The Politics of Aloofness in Macbeth,” in English Literary Renaissance, Vol. 26, No. 3, Autumn, 1996, pp. 531-60.
[In the following essay, Baldo contrasts the styles of rule of Queen Elizabeth and King James and studies the way in which James's aloofness is reflected in Macbeth. Baldo explains that whereas Shakespeare's Elizabethan plays reflect Elizabeth's theatricality and interrupted succession, Macbeth is a reflection of James's aloof style of rule and of his emphasis on lineal succession.]
There is the same method through all the world in general. All things come to their height by degrees; there they stay the...
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Axton, Marie. “Miraculous Succession: ‘The Phoenix and the Turtle’ (1601).” In The Queen's Two Bodies: Drama and the Elizabethan Succession, pp. 116-30. London: Royal Historical Society, 1977.
Maintains that Shakespeare's poem, The Phoenix and the Turtle is both politically and philosophically motivated. The poem addresses Shakespeare's attitudes toward kingship, love, and duty—the same attitudes, Axton asserts, that are found in Shakespeare's histories and tragedies.
Erskine-Hill, Howard. “The First Tetralogy and King John.” In Poetry and the Realm of Politics: Shakespeare to Dryden, pp. 46-69....
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