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Amanda BurrowsFollow

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Literary Criticism

Abstract/Description

Christ figures in literature are common, but perhaps not as common in Shakespeare plays as some claim. In simple terms, it seems as if symbolic resurrection is all that is needed for one to be considered a type of Christ. In actuality, as Sean Benson clarifies, “far from Christianizing his drama . . . Shakespeare’s quasi-resurrections have their ultimate roots in the world of classical (Greek) comedy and romance” (3). For many of the mislabeled Christ figures, Shakespeare is merely drawing on significant ideas found in the sources of his plays. Still, there are Christ figures who can be verified in other ways. Specifically, I consider Edgar and Cordelia from King Lear in conjunction with Antigonus and Hermione from The Winter’s Tale. Often, I found that the male parts exemplify more traits of Christ’s actions or roles while the female representations more closely resemble His true nature and character. Some critics may still claim Shakespeare’s pandering to his audience leads to his inclusion of so many potential Christ figures while others see their presence as wishful thinking on the side of scholars. However, it seems clear that Shakespeare did include many intentional Christ figures and characterized them with impeccable detail so as to capture a variety of Christ’s qualities and attributes. The evidence in this paper is meant to suggest two categories of Christ figures that Shakespeare creates: Innate and Circumstantial. Male characters are often circumstantial because the Christlike things attached to them are products of their circumstances or surroundings. The female examples, on the other hand, are innate Christ figures because their similarities with Christ are manifestations of their natural qualities. By qualifying Christ figures in this way, scholars may stay true to Shakespeare’s intentional inclusions while still noting all allusions to the Son of God.

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as part of a class

Faculty Involvement

Dr. Bruce Young

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“It is required you do awake your faith:” Classifying Male and Female Christ Figures in Shakespeare’s King Lear and The Winter’s Tale

Christ figures in literature are common, but perhaps not as common in Shakespeare plays as some claim. In simple terms, it seems as if symbolic resurrection is all that is needed for one to be considered a type of Christ. In actuality, as Sean Benson clarifies, “far from Christianizing his drama . . . Shakespeare’s quasi-resurrections have their ultimate roots in the world of classical (Greek) comedy and romance” (3). For many of the mislabeled Christ figures, Shakespeare is merely drawing on significant ideas found in the sources of his plays. Still, there are Christ figures who can be verified in other ways. Specifically, I consider Edgar and Cordelia from King Lear in conjunction with Antigonus and Hermione from The Winter’s Tale. Often, I found that the male parts exemplify more traits of Christ’s actions or roles while the female representations more closely resemble His true nature and character. Some critics may still claim Shakespeare’s pandering to his audience leads to his inclusion of so many potential Christ figures while others see their presence as wishful thinking on the side of scholars. However, it seems clear that Shakespeare did include many intentional Christ figures and characterized them with impeccable detail so as to capture a variety of Christ’s qualities and attributes. The evidence in this paper is meant to suggest two categories of Christ figures that Shakespeare creates: Innate and Circumstantial. Male characters are often circumstantial because the Christlike things attached to them are products of their circumstances or surroundings. The female examples, on the other hand, are innate Christ figures because their similarities with Christ are manifestations of their natural qualities. By qualifying Christ figures in this way, scholars may stay true to Shakespeare’s intentional inclusions while still noting all allusions to the Son of God.