AuthorEvan Hixon

Hell’s Black Intelligencers: Shakespeare and Our Current Fears of Surveillance

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A graphic of a Mercator map superimposed with tablet and smartphone screens, with corresponding views of the oceans and continents beneath them.

In July 2018, the United States government formally pressed charges against Maria Valeryevna Butina for operating as an unregistered foreign agent operating in the service of the Russian state, a term that the news media quickly collapsed into the more provocative and instantly recognizable designation of “Russian spy.” Coupled with the revelation that the Russian government had covertly exerted...

“Millions of false eyes”: Responding to Surveillance

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An image of an early modern printed cipher wheel. There are letters printed on the spokes, illustrations of flora and putti between the spokes, and a rotatable archer's bow with letters attached to the center of the wheel

Surveillance culture doesn’t crop up overnight. It is the result of social and political processes, which humans creatively adapt to and undermine. Last week, I looked at the ways in which early modern audiences and playwrights reacted to the increasing sense that their government was using spies to monitor their actions in and around the theater. Their plays explored how the threat of spying...

They Come Not Single Spies: What Surveillance Meant to Shakespeare’s Audiences

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An early-modern print illustration, of Queen Elizabeth in regalia, flanked to either side by Lord Burleigh holding a staff and a crest and Sir Francis Walsingham holding a scroll

After the St. Bartholomew’s Day Massacre in 1572,[1] the English government, particularly Principle Secretary Francis Walsingham (often credited as the father of English espionage), greatly increased the scope of their intelligence networks. This resulted in the foiling of a number of plots against the life of Queen Elizabeth, most notably the Babington Plot, which led to the execution of Mary...

Cloaked in Eyes and Ears: Reading Surveillance Culture Through the Early Modern Stage

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An early-modern print image. A figure cloaked in fabric covered with eyes covers their face with an elbow, fabric breezing out behind them. They wear a hat and hold out a lamp in the direction of their travel.

In our contemporary social moment, the American public has come to possess a fairly blasé attitude towards the degree to which governments and corporations collect our data and monitor our actions. It has become almost an unfunny joke to acknowledge that, yes, Amazon and Google do monitor our internet habits and listen in upon our phone conversations in order to better sell us products. Popular...

“Enter RUMOUR, painted full of tongues”: Virality and the Dangers of Rhetoric

A photo of a gilded bronze statue of a feminine angel blowing a trumpet and holding a crown of laurels; she stands atop a tower, and twilight is in the background

Over the last few weeks, I’ve explored the relationship between early modern fears of rhetoric and their relevance in our political climate. Thus far, I’ve focused on a specific kind of rhetoric, the anti-media rhetoric of President Trump, drawing parallels between his words and Henry II’s famous statement “will no one rid me of this troublesome priest.” This week, I want to look at a different...

“If Thou Consider Rightly of the Matter”: Intent, Interpretation, and the Fear of Rhetoric

A man in a toga, his arms behind his back, is being manhandled by many other men, some hatted and hooded, with two other hands pointing accusatively at him.

Last week, I looked at Julius Caesar as a case-study for understanding early modern fears concerning rhetoric during the late 16th and early 17th century. I hope to have demonstrated the degree to which Shakespeare was wary of the relationship between rhetorical provocation and the violent potential of the crowd. However, representations of rhetorical provocation such as Marc Antony only tell...

“Cry Havoc and Let Slip the Dogs of War”: Julius Caesar and the Power of Rhetoric

A painting of Marc Antony eulogizing dead Caesar, who lays shrouded to the side, in front of an audience

Last year, while writing for Broadly Textual about the political implications of staging Shakespeare’s Julius Caesar under the Trump administration, I off-handedly suggested that the play could be read as one in “which a demagogue exploits a mob of Roman citizens and preys upon their anger and resentment to compel them to destructive violence.” Later that year, when teaching the play to my lower...

Will No One Rid Me of This Turbulent Media?

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A colored engraving of the murder of Thomas Becket.

In 1170, Henry II, King of England, is alleged to have complained to a group of knights within his household, “will no one rid me of this turbulent priest.” Speaking of the Archbishop of Canterbury, Thomas Beckett, this statement was alleged to have been interpreted as an order, and a group of knights travelled to Canterbury in the ensuing days, during which Beckett was killed. While the specific...

“They may pass for excellent men:” Audience and Interpretative Labor in A Midsummer Night’s Dream

[5-7 minute read] Last week, I discussed Hamlet’s metatheatrical play within a play, The Murder of Gonzago, in an attempt to discuss what Hamlet’s attitudes towards acting could tell us about the relationship between theater and audience. This week, I would like to shift gears and discuss a different moment of metatheatricality in Shakespeare: the performance of The Most Lamentable Tragedy of...

“Dumbshows and Noise:” Hamlet and The Problem of Audience

[5-7 minute read] During Act 3 of Hamlet, while preparing the travelling players for the evening’s performance, Hamlet provides the actor’s company with a lengthy speech concerning the proper methods of acting he would like them to employ. During the speech, he makes a note on clowns, saying “and let those that play/ your clowns speak no more than is set down for them;/for there be of them that...

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