Abstract

A consideration of the differences between Shakespearean comedy and tragedy in light of the historically particular inflection of dramatic irony in the English Reformation. The essay compares classical and humanist understandings of literary response and then proposes that we consider that response as a function of knowledge with respect to (and hence feelings about) a protagonist and his plight. The essay compares the structures of suspense in Sophocles’ and Seneca’s Oedipus plays, and then goes on to examine the ways in which two early modern versions of Seneca’s play demonstrate different manners of crafting an audience’s affective relation based on epistemological advantage. The author argues that the peculiarities of these repsonses, and their difference from Shakespeare’s handling of dramatic irony, can be illuminated by the English response to Calvin’s understanding of predestination as a matter of being known about. The analysis concludes with examples from Much Ado About Nothing and Othello that demonstrate the different affective charge of privileged information