“At War ’Twixt Will and Will Not”: On Shakespeare’s Idea of Religious Experience in Measure for Measure

Abstract

“Religions in Shakespeare’s Writings,” the title of this special issue, can prompt consideration not only of singular exceptions to the normative religious landscape but also of the ideas that support the banner under which a plurality of examples together may be described as “religious.” In recent years, readers of Shakespeare have devoted attention to exploring Shakespeare’s engagement with specific theological and sectarian movements in early modern Europe. Such work has changed how we view the relation between theater and its religious landscapes, but it may be that in focusing on the topical we overlook Shakespeare’s place among such sociologists and philosophers of religion as Montaigne, Hobbes, James, Weber, and Berger. To this end, I argue that in Measure for Measure Shakespeare uses law to synthesize certain aspects of religious experience from divergent corners. And drawing on descriptions of religion from anthropology and phenomenology, I suggest that Shakespeare unites his characters through patterns of action within this deadly exigency that demonstrate a shared experience of religion as a desire for salvation beyond the law.

Religion and Theatrical Drama

“…Fortunately, the company created a professional, theatrical film of the production for educational purposes; however, like many recorded theatrical performances the frisson with the audience is absent. Nevertheless, the recording, coupled 1 See, for example, (Beckwith 2011;Besteman 2019;Goossen 2012;Smith 2018;Shuger 2001;Schleiner 1982;Knight 2001;Whalen 2014;Bradizza 2018;Rust 2019). 2 I recognize that the description of the theatrical experience above is subjective; however, whether each individual felt the 'engagement' of the performance, does not undermine that the intent of the design and staging was to engage the audience.…”

“Fantastic Tricks before High Heaven,” Measure for Measure and Performing Triads

“…Fortunately, the company created a professional, theatrical film of the production for educational purposes; however, like many recorded theatrical performances the frisson with the audience is absent. Nevertheless, the recording, coupled 1 See, for example, (Beckwith 2011;Besteman 2019;Goossen 2012;Smith 2018;Shuger 2001;Schleiner 1982;Knight 2001;Whalen 2014;Bradizza 2018;Rust 2019).…”

The Tempest and Black Natural Law

“…Aquinas, like Cicero and Aristotle, affirmed that human beings are capable of discerning the teachings of natural law through the use of reason. Yet creaturely life-sinful, historical, unreliable, 2 For a related reading of Shakespeare's Scriptural pluralism, see (Smith 2018). On the imago dei in The Tempest, see (Urban forthcoming).…”