Emotions--amazement, jubilation,
exultation--burst forth in side her. She
sat up on the bier and reached out. "Dada!"
... Rosie looked toward the row of chairs and
half rose in thankfulness,
then realized--the play! But no one seemed to
care. The audience was
crying, laughing, clapping, involved in the
story unfolding before their
eyes and forgetting the fiction that had earlier
absorbed them. All sense of
tragedy had vanished, and nothing would restore
it now (Dodd 362).
Dodd's disrupted staging of Hamlet acknowledges the romance novel's strategies with Shakespeare's tragedies. This novel explicitly transforms Hamlet in performance as the climax of a whole series of revisions of its narrative. The lost birthright, the mourning for fathers, and the fear of sexual betrayal from Hamlet are recycled through the female Rosencrantz who, typically for romance, resolves these conflicts by marrying the man whom her resurrection has deprived of land and fortune. Just as important the tragic plot and action are abandoned freely--even by "Uncle Will" himself.
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