THE CENSORSHIP OF THE DEPOSITION SCENE IN <i>RICHARD II</i>

Clare, Janet

doi:10.1093/res/xli.161.89

Cited by 6 publications

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“…Subwersyjny potencjał Ryszarda II musiał być dla królowej i jej otoczenia czytelny, skoro sztuka została ocenzurowana: jej trzy pierwsze wydania -wszystkie, które opublikowano za życia królowej Elżbiety -ukazały się bez problematycznego aktu czwartego 61 . Warto podkreślić, że cenzurowano nie reprezentację królobójstwa (V, 2), ale scenę abdykacji króla (IV, 1), ukazaną jako dramatyczna ekstrakcja ciała naturalnego z ciała poli- tycznego władcy.…”

Section: Kryzys I Kontrolaunclassified

„Ryszard II to ja”. Teoria dwóch ciał króla i elżbietańska praktyka polityczna

Olechnowicz

2020

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The purpose of the article is to show how the doctrine of the King’s Two Bodies formulated by lawyer Edmund Plowden influenced political practice and its artistic representation. It is worth emphasising that the image of the king as a one-man corporation includes an immanent conflict resulting not only from the coexistence of conflicting identities in one person, but also from the need to constantly negotiate relations between them. Therefore, the concept of two bodies could simultaneously serve as a tool for legitimising and contesting power. This paradox is well illustrated by Queen Elizabeth I’s famous declaration “Richard II is Me”, which has been intriguing researchers for decades and receiving extensive comments. So far it has not been placed in the context of the doctrine of the King’s Two Bodies, in which it sounds probably most fully. The perspective of abolished temporality inscribed in it sheds a new light on the queen’s identification with Richard II: both the historical ruler and the hero of the Shakespearean chronicle.

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Section: Kryzys I Kontrolaunclassified