Ghost and antic disposition

This paper surveys the problems of identity in a number of Shakespeare’s plays, such as The Taming of the Shrew, The Comedy of Errors, As You Like It, Twelfth Night, The Merchant of Venice, Romeo and Juliet, Hamlet, and Othello. In these plays as in many others, Shakespeare explores the complexity of identity, not only through the use of disguise, as in the major comedies, but also through the problems of self-knowledge. The latter issue is prominent and explicit in King Lear when, for example, Lear asks “Who is it that can tell me who I am?” The opening words of Hamlet, “Who’s there?” introduce the problem from the outset, and much of the play is given over to characters trying to discover who the others in the play really are. Is the Ghost an honest ghost, or “a goblin damned?” Is Hamlet really mad or just putting on an “antic disposition” as he struggles to discover his proper course of action as his father’s avenger? Is Kate really a shrew, or just made to act like one by her family and others?

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The antic disposition of a Finno-Ugric novelist

Journal of Baltic Studies ◽

10.1080/01629779300000281 ◽

1993 ◽

Vol 24 (4) ◽

pp. 389-394 ◽

Cited By ~ 1

Author(s):

Mardi Valgemäe

Keyword(s):

Antic Disposition

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What method this madness: An inquiry into Hamlet's antic disposition

Comprehensive Psychiatry ◽

10.1016/0010-440x(73)90011-4 ◽

1973 ◽

Vol 14 (2) ◽

pp. 189-195

Author(s):

Ernest S. Wolf

Keyword(s):

Antic Disposition

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Aryan Mundus and Sexual Inversion: Eliot's Edition of Nightwood

Prospects ◽

10.1017/s0361233300006372 ◽

1998 ◽

Vol 23 ◽

pp. 329-355

Author(s):

Margaret Vandenburg

Keyword(s):

Sexual Politics ◽

The Novel ◽

To Come ◽

Full Force ◽

Antic Disposition

Despite its notorious sexual politics, Djuna Barnes's Nightwood gained considerable literary respectability when T. S. Eliot endorsed the first American edition with his Introduction. The presiding dean of Modernist letters at Faber and Faber in London, Eliot could distinguish even obscure writers with a single stroke of his editorial pen. Though his decision to publish Djuna Barnes's wildly subversive Nightwood suggests that an antic disposition lurked beneath his studied propriety, he expurgated several of the manuscript's most transgressive episodes, thus diminishing the redemptive role of sexual inversion in the novel. Eliot admits in his Introduction that “it took me, with this book, some time to come to an appreciation of its meaning as a whole” (xi), but his editorial deletions indicate he overlooked the symbolic significance of inversion as the antithesis of Aryan essentialism in the manuscript. With uncanny prescience, Nightwood forecasts the nightmare of Nazi genocide and gendercide, creating a Parisian underground of expatriate inverts in exile from the deadly cultural “hygiene” of fascism. Analysis of the deleted manuscript passages restores the full force of Barnes's antifascist polemic in which inversion ultimately wins the day.

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