Religion and Theology
Critics have adopted a variety of approaches to explore the religious and theological dimensions in Shakespeare's plays. They have identified specific religious themes, explicated biblical allusions, and shed light on numerous theological subtexts. Late twentieth-century commentators almost uniformly decline to speculate about whether Shakespeare held particular sectarian views and, if so, what these might be. Instead they focus on his treatment of religious disputes in early modern England and the controversies that split the Christian church and led to the Reformation. Throughout the period when Shakespeare was writing his plays, religious systems of thought continued to be unstable, and doctrinal issues were vigorously contested. Many critics find evidence of Shakespeare's familiarity with these conflicts—as well as with centuries of Christian discourse—in his histories, comedies, and tragedies.
In her assessment of the Christian aspects in Shakespearean tragedy, Helen Gardner (see Further Reading) emphasizes the dramatist's evident knowledge of the Bible and contemporary theological writings. Gardner maintains that some of the most characteristic features of Shakespearean tragedy—especially those found in King Lear—are closely associated with Christian attitudes toward the mysteries of human existence. René Fortin (1979) also examines King Lear and finds both Christian and secular interpretations of the play to be equally valid. Acknowledging that the play's final scene poses a unique challenge to Christian or redemptive readings of the tragedy, he suggests that the death of Cordelia, far from contradicting Christian doctrine, confirms the Catholic and Protestant notion of God's judgments as unknown and inexplicable. Similarly, Daryl Tippins (1997) proposes that King Lear may be viewed as either nihilistic or transcendent. Cautioning readers to be wary of basing a definitive interpretation of the play as a whole on a reading of its final scene, he claims that the seeming pessimism of this episode does not negate the effect of previous scenes that represent compassion, reconciliation, and Christian optimism.
Alan Sinfield (1980) maintains that optimistic humanism is a critical issue in Hamlet, and argues that the play depicts the disintegration of the notion that human reason by itself can form the basis of moral action. But, he further contends, it also shows that the Calvinist belief in providential justice is an equally inadequate response to the grim realities of this world. Ronald G. Shafer (1990) considers that Hamlet is only temporarily attracted to humanism and that ultimately the prince reaffirms his belief in Christian values and his reliance on the will of God. Both Robert N. Watson (see Further Reading) and Julia Reinhard Lupton (1997) discuss questions of religious differences and theological doctrine in Othello. Watson asserts that the play's rendering of Catholic theology is burlesque, intended to caricature the idea that salvation can be earned and to endorse instead the Protestant tenet that salvation is a gift from God, unrelated to individual merit. Lupton examines Shakespeare's depiction of the Moor as at once a Christian hero and a barbarian forever excluded from the covenant of universal brotherhood.
Some critics detect significant religious motifs in the comedies as well as the tragedies. For example, Paul A. Cantor (1987) asserts that in The Merchant of Venice these issues are more complex than is ordinarily recognized. The play does not merely represent Christianity's triumph over Judaism, he contends, for its near-tragic ending features the downfall of Antonio, the play's representative Christian, as well as Shylock, its representative Jew. Both G. M. Pinciss (1990) and Julia Brett (see Further Reading) assess the religious dimensions of another Shakespearean comedy, Measure for Measure. Pinciss reads the play in terms of the Protestant belief in the positive value of despair: that is,...
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