Essay On Fear Of Punishment Enforces Discipline

Essay On Fear Of Punishment Enforces Discipline-57
In a world ridden with what may seem to be new fears, we are tempted to turn to Shakespeare’s plays as we turn to a sacred text, hoping to find providential lessons and words of comfort, for Shakespeare too lived in a time rife with religious tensions and anxieties about plots and treasons – we desire Shakespeare to be both a prophet and “our contemporary.” Perhaps it would be fairer to say that as scholars, eager to exert just a little more critical distance than that, we turn to Shakespeare in the same way as Patrick Boucheron recently turned to Ambrogio Lorenzetti’s frescoes of good and bad government in the Palazzo Pubblico of Siena, enquiring whether they might teach us how to “avert fear” – “ For Boucheron, the fires, the unruly soldiers, the desiccated fields that are glimpsed on the western wall, supposedly depicting the effects of bad government – or the antithesis of the Republic – in fact translate and materialize the anxiety of the Republic – the slow, inevitable subversion of civic values from within.bespeak the diseased state of other common weal about to turn common woe.

In a world ridden with what may seem to be new fears, we are tempted to turn to Shakespeare’s plays as we turn to a sacred text, hoping to find providential lessons and words of comfort, for Shakespeare too lived in a time rife with religious tensions and anxieties about plots and treasons – we desire Shakespeare to be both a prophet and “our contemporary.” Perhaps it would be fairer to say that as scholars, eager to exert just a little more critical distance than that, we turn to Shakespeare in the same way as Patrick Boucheron recently turned to Ambrogio Lorenzetti’s frescoes of good and bad government in the Palazzo Pubblico of Siena, enquiring whether they might teach us how to “avert fear” – “ For Boucheron, the fires, the unruly soldiers, the desiccated fields that are glimpsed on the western wall, supposedly depicting the effects of bad government – or the antithesis of the Republic – in fact translate and materialize the anxiety of the Republic – the slow, inevitable subversion of civic values from within.bespeak the diseased state of other common weal about to turn common woe.

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Il y est avant tout l’instrument d’une consolidation du corps-politique.

La distinction hégélienne entre la peur de la loi pénale et morale, et la peur plus profonde du destin ou de soi-même, permet une meilleure exploration de l’expérience même de la peur, de la conscience morale, et du processus menant de la peur et du châtiment vers un plus grand degré de conscience.

Of course, 1606 England is not 1338 Siena, anymore than it is our 2017 more globalized political stage, but might we suppose that the power of Shakespeare’s theatre consists precisely in not concealing anything from the eye, that it addresses fear by becoming a theatre of fears? My particular focus in this paper will be on the dialectics of fear and punishment and the way Shakespeare’s dramaturgy questions both the fear of punishment and punishment as an effective response to fear.

If so, how does Shakespeare represent fear and what does he do with fear? I approach these questions through three different lenses, a Foucauldian one, a Hegelian one, and finally through the definitions that are given to fear in early modern religious literature, which appear to be more pertinent in delineating the implications of Shakespeare’s dramatic treatment of fear.

Charmian’s warning to her mistress Cleopatra that “In time we hate that which we often fear” may well apply beyond matters of love (1.3.14).

Later in the play, at the end of act 3, when Antony is defeated, and at the very moment when Enobarbus is about to turn traitor to his master, the servant sheds light upon another troubling aspect of the mechanism of fear in which the fearlessness and valour of the epic hero, turned tragic, are in fact only a higher level of fear, or fear “in her most exalted mood.”ENOBARBUS.Prospero, sole ruler of the island, compares the “afeared” monstrous Caliban, who dreads him more than he dreads the dark Setebos, to beecombs or wax which he has to pinch into form through corporeal forms of punishment (1.3.386).Physical punishment and torture are performed publicly not only as a spectacular warning to others but because they are the performative means of the exercise of power, which is also an exercise of fear.(a year of fear), James Shapiro argues that it is “no coincidence” if “[t]he year 1606 would turn out to be a good one for Shakespeare and an awful one for England” for the playwright “grasped the dramatic potential of popular reaction to the plot: a maelstrom of fear, horror, a desire for revenge, an all-too-brief sense of national unity, and a struggle to understand where such evils came from.”, an earlier play, but written quite shortly after the 1603 Main Plot, to which it may well relate.These four plays undoubtedly stage fears, show some of the ways fears are dealt with, and – most importantly for my purpose – attempt to inflict punishment upon traitors.Hegel’s distinction between two types of fear, the fear of the penal code or moral law, and a deeper fear of oneself or “fate as punishment,” enables us to probe deeper into the experience of fear, the moral imagination, and the process leading from fear and punishment to a greater degree of self-consciousness.This paper argues, however, that the implications of Shakespeare’s dramatic treatment of fear are best understood when read in light of early modern theological literature and its attempts to finely rationalize the experience of fear.We are given a commanding view of how the use of fear or terror plays into the exercise of power, but it is seldom explored from within or for itself.To find a more intimate view of the dialectics of fear and punishment, we need to revert to the former, longer Romantic trend of criticism that developed out of Hegel’s readings of Shakespeare, privileging the study of the Shakespearean moral imagination, which remained current down to Harold Bloom In “Spirit of Christianity and Its Fate,” Hegel uses Macbeth as an example to distinguish the moral law, expressed in the penal code and generating a fear of something “alien,” from “fate as punishment,” which the philosopher describes as a fear or “awe” of oneself.Shakespeare’s plays dramatize a contemporary typology of fear, undermining beliefs in a “native punishment” ( Cet article traite de la dialectique de la peur et du châtiment dans quatre pièces de Shakespeare écrites dans le contexte de la conspiration principale (1603) et de la conspiration des poudres (1606) : la peur, en adoptant différentes approches critiques qui offrent, chacune, une autre réponse à cette question.L’accent sur la mécanique de l’exercice du pouvoir et le spectacle du corps supplicié mis au jour dans l’approche foucaldienne ne permet pas de véritablement aborder la peur comme une expérience ou une émotion vécue par le malfaiteur.

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