research: fun stuff!

At first I found it extremely difficult to find articles related to my topic. I found a bunch of bibliographic references from the World Shakespeare Bibliography Online, but I couldn't gain access to them through the library. So I put in some Inter-library loan requests, but they were taking some time. So I took a little library trip, found some books on the shelf, since I knew where all the Shakespeare books are (fifth floor, PR 2900 and so forth), and had a party. I checked out probably more than I could read, and I am still wafting through all the information. Sad thing is, I found some really cool articles on other interesting topics, but didn't really want to change topics at this point. Anyways, here's the main ones I came up with, though there will probably be more in the future, as I just got an email back from the librarian. She says I can find dissertations and theses in Proquest, or on the Shakespeare Subject Guide under the Books tab: dissertations
She also said that there is a print volume database in the library:
"Also, another great place to look for critical essays and articles about various aspects of Shakespeare's plays is Shakespearean Criticism.  The print volumes have a wonderful cumulative index that you can review by topic (e.g. Revenge), by characters (e.g. Iago or Hamlet) and also by plays.  The volumes contain the full text of the essays and articles as well.  There is an electronic version but access to the cumulative indexing is difficult.  If you are in the library any time soon, you should pay a visit to the Humanities Reference area on level 5 and use this resource (call number HUM REF PR 2965 .S43 – ask at the desk and they can help you find  and use it)."
 Library trip tomorrow!
Ok, back to my bibliography. As a tentative thesis, which I guarantee will change, at least for style:
"Though generally Hamlet and Iago are not considered on the same plane of discussion, the juxtaposition of a tragic hero and a tragic villain will show that the line between these roles is less defined with an intimate perspective."

Thorndike, Ashley H. “The Relations of Hamlet to Contemporary Revenge Plays.” PMLA vol. 17 No. 2, 1902.

This article discusses the revenge tragedy, and all of its particulars, which have been set by the original Spanish Tragedy called ‘Jeronimo.’ One section lays out all the common characteristics of the revenge tragedy, and the second section displays how heavily Hamlet draws on this original play. Having a scholarly reference for what exactly a revenge tragedy is could be helpful to me, because my comparison between Iago and Hamlet draws strongly on the fact that they are both characters driven by revenge. I referred to this in an earlier post. I found this source on the World Shakespeare Bibliography.

Draper, John W. “Honest Iago” PMLS Vol. 46 No. 3, 1931.

The character analyzation in this article provides a perspective that allows a little humanity to be seen in Iago’s character. Whereas most write him off as a heartless villain, Draper takes into account the fact that Iago is driven by revenge for cuckoldry, which was seen as extremely pathetic in the Elizabethan era, making him the butt of ridicule. Hamlet’s revenge is also partly motivated by cuckoldry, but for his father. His first soliloquy is about how quickly his mother gets married, so it must bother him. Maybe the two character’s motivations are even closer in nature than I thought. But the difference, I think, is that Hamlet is protecting the reputation of his father, rather than himself. It may be a ‘selfless act,’ unless the ghost is a figment of his imagination. I found this source through

Khanna, Urmilla. “The Tragic Hero in Shakespeare: the Dramatic Significance of His Isolation.” New Delhi. Orient Longman Limited, 1974.

This book is an overview of the tragic hero in Shakespeare, primarily using Hamlet as an example. It describes the characteristics of the tragic hero being in isolation due to their “pursuit of identity beyond the socially approved and recognized limits.” I think I could use some points in this book to actually prove that Iago could fit the mold for a tragic hero. I found this source by searching the shelves nearby “Shakespeare’s Villains.” I figured it would give a helpful argument for the opposite side.

Coe, Charles Norton. “Shakespeare’s Villains.” AMS Press. New york, 1957.

This book discusses a formula for creating good villain characterization, and supplies an analysis of Iago as an example of a well-developed and believable villain, explaining that these standard are only relevant to modern Shakespeare scholars, because Elizabethan audiences accepted villains, ‘with or without motivation’ because they regarded them as stock characters. Because the motivations behind a villain matter more to present-day scholars, the definitions of who is a villain and who is not has become more fluid. When describing the steps for good characterization, Coe uses Hamlet as an example. Is there a modern-day formula for what is a villain and what is not? I found this source by searching for books related to villains, preferably those that discussed my characters.

Hyman, Stanley Edgar. “Iago: Some Approaches to the Illusion of His Motivation.” McClelland and Stewart ltd. New York, 1970.

This book gives the answer to that question, as it describes Iago in his role as the traditional stage villain: motivation to war perpetually against all that is good, using falsity and deceit, and accompanying this with proud candor regarding his intentions in asides and soliloquies. I found this on the shelf in the library near the books on Shakespearean villains and heroes.