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Theproblem,or:theShakespeareandebt
TheoriginsoftheGothiclie,notinHoraceWalpole9s
mind,butintheaestheticthatprecededhisnovel.
RobertMiles,GothicWriting(1993)
Nowadaysitisunfashionabletodwellonparticularver-
balparallels.
JonathanBate,Shakespeare
andtheEnglishRomanticImagination(1986)
Anumberofstudieshaveraisedourawarenessofthescopeandvari-
etyoftheappropriationsofShakespeareintheeighteenthcentury.1We
arenowabletoreconstructthesettingupofShakespeareasanational
bard,aprocesswhich,manyagree,culminatedinGarrick9sShakespeare
Jubileeof1769.2NotonlydidtheeventturnStratford-upon-Avoninto
averitableholyplacetowhichworshipperswouldmakepilgrimagesto
honourthePoet,theKgodofouridolatry,»inGarrick9sphraseechoing
RomeoandJuliet,3butthedateitselfconvenientlyifarbitrarilymarks
thepointatwhichthereceptionofShakespeare,beguninearnestinthe
Restorationperiod,enteredanewphase.NowtheappropriatedShake-
spearewasusedtoconsolidatethenationalidentity.Furthermore,anau-
1ForanoverviewseeCatherineM.S.Alexander,KShakespeareandtheEight-
eenthCentury:CriticismandResearch,»ShakespeareSurvey51(1989),1115.AsRo-
bertHumerightlypointsout,MichaelDobsondeservesthegreatestcreditforhisbook
TheMakingoftheNationalPoet.Shakespeare,AdaptationandAuthorship,166011769
(Oxford:ClarendonPress,1992).
2Theeventneedstobedistinguishedfromtheplay,TheJubilee,byDavidGarrick,
whichwassuccessfullyperformed(astaggeringninetytimes)atDruryLaneinthe
seasonof1769/1770.TheCoventGardentheatrewasevidentlydeterminedtorival
Garrick,andGeorgeColman9scomedy,ManandWife;or,TheShakespeareJubilee,was
presentedinOctober1769.
3JulietcallsRomeo9sKgraciousself»Kthegodof[her]idolatry»;RJ,II.ii.114.
