![]() Stigma comes to us in Shakespeare’s first tetralogy as it comes to us in life because there are so many conflicting interpretations between us and the object of our attention, layers upon layers, each asking us to accept its claims about nature, that we have no pure, unfiltered experience with the thing we seek to understand. Interpreting deformity in Shakespeare’s first tetralogy is no different than interpreting deformity in life, not because these plays are some exact copy of nature, for of course the opposite is true. Richard was also Shakespeare’s first study of stigma, and his most meticulous, stretched across three plays. Richard III is the original site of stigma in English literature, beginning with the Tudor chroniclers who decried his villainy alongside his deformity (which, incidentally, the recent discovery of his scoliotic skeleton has confirmed as historical fact). ![]() To entertain these fair well-spoken days,Īnd hate the idle pleasures of these days. Why, I, in this weak piping time of peace,Īnd therefore, since I cannot prove a lover, Into this breathing world, scarce half made up, ![]() I, that am curtail’d of this fair proportion,Ĭheated of feature by dissembling nature,ĭeform’d, unfinish’d, sent before my time I, that am rudely stamp’d, and want love’s majesty Nor made to court an amorous looking-glass But I, that am not shaped for sportive tricks, ![]()
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