Abstract:

Somewhere behind the dramatic power that gathers around psychological themes in Shakespeare’s plays traceable to a mother’s role in a child’s experience is the lived mother–child bond of Mary Arden Shakespeare and her oldest son. I will construct a model of Mary’s contribution that I think is consistent with what we know of the circumstances of her life, with what we have learned from psychoanalysis about mother–child bonds, and with the shape of Shakespeare’s artistic development as I understand it. Mary Arden Shakespeare, born to a strong Catholic family, was pregnant and gave birth to William after the deaths in infancy of two daughters, as the most deadly plague of the 16th century made its way toward Stratford, and as Catholic beliefs and ritual traditions were forcefully set aside by Queen Elizabeth’s protestant reformation. The crisis circumstances of Shakespeare’s earliest maternal experience, the later prolonged crisis of his father’s disgrace, and the plausible impacts of these crises on the mother-child bond, suggest a range of infantile and childhood experience consistent with, and reimagined in, the development of Shakespeare’s drama.

摘要：

莎士比亚戏剧中围绕心理主题聚集的戏剧力量背后的某个地方是玛丽雅顿莎士比亚和她的大儿子活生生的母子关系。我将构建一个玛丽贡献的模型，我认为它与我们对她生活环境的了解、我们从心理分析中了解到的关于母子关系的知识以及我所理解的莎士比亚艺术发展的形态是一致的。玛丽·雅顿·莎士比亚出生于一个强大的天主教家庭，在 16 世纪最致命的瘟疫向斯特拉特福德袭来时，在两个女儿婴儿期死亡后怀孕并生下了威廉。被伊丽莎白女王的新教改革强行搁置。