早期許多評論家在探討莎士比亞與英國宗教改革之間的關聯時，多半會著眼於莎翁的宗教信仰，在他的劇作之中尋找蛛絲馬跡，企圖証明莎翁是舊教或是新教的擁護者，但是此類研究很容易陷入二分法的窠臼，因而忽略歷史劇的戲劇特質。為免重蹈覆轍，本論文先探討宗教改革對王權的觀念產生何種衝擊與挑戰，再由戲劇呈現的角度，闡述莎翁如何在歷史劇中顛覆傳統王權意象。
有些文化評論家已注意到宗教改革期間破壞宗教肖像的後續影響，卻少有學者運用此一文化現象來探討莎翁歷史劇的國王形象。中世紀以降，在位君主為證明自己傳襲正統，透過各種節慶慶典，例如加冕大典與街頭遊巡的場合，塑造王者形象，這個現象到了都鐸王朝更加明顯，亨利八世發動宗教改革之後，更是透過多種文化藝術策略，貶低教宗的權威來強化政教合一的訴求。除了破壞天主教聖像之外，還以皇室的徽章圖樣取代具有宗教色彩的圖像。諷刺的是，這股破除舊偶像的力量發展到極致，內化了新教徒打破權威追求平等的訴求，促成另一種對王權的新認知以及新的戲劇呈現方式。
莎翁的歷史劇以英國的歷史事件為主軸，雖然還不至於走極端，倡議打倒王權，但已逐漸出現意義深遠的變化。較之早期約翰•貝爾宣傳王權至上的戲碼，莎翁創作歷史劇的氛圍已脫離政治宣傳的性質，因此其歷史劇呈現出更豐富的樣貌。人文思想在伊莉莎白女王時代漸趨成熟，其影響漸漸由政治轉為美學範疇，也使得歷史的撰寫方式產生相當程度的變革。再加上劇場的蓬勃發展，莎翁的歷史劇加重對王權本質的探討，劇中國王的形象越來越趨於世俗化，更接近現實人物，跳脫了寓言式表現手法，並融入無常的觀念。
本論文第一章側重王室如何利用加冕大典或遊巡的場合，塑造神聖的國王意象，以達鞏固王權之效。第二章則探究亨利八世時期宗教改革政策如何促成以戲劇寫史，達到改寫歷史的目的。貝爾重新塑造約翰王的形象，使其符合傳統的理想形象，藉此將英國國王提升為英國及其教會的最高統領，等同於國家，以宣示其獨立主權不受羅馬教廷管轄。。為了和貝爾的歷史劇兩相對照，第三章著重在莎翁的《約翰王》以及《亨利八世》兩部歷史劇，以便更清楚呈現莎翁歷史劇的特質。第四、五章的焦點在於莎翁如何利用戲劇手法，創造出更人性化的國王角色，顛覆舊有的王權意象，評論以盛大場面鞏固君權的傳統。莎翁質疑君權神授的政治理念，從而以世俗的角度探究王權的本質，因此激發出獨特的戲劇意象。結論則再次重申莎翁在歷史劇中具體呈現新教推翻權威的精神，以悲憫之心重新審視在位者的心態與處境，使得歷史劇得以由政治戲碼轉型，讓觀眾有嶄新的美學體驗。

When investigating the connection between Shakespeare and the Reformation, many critics are concerned about the playwright’s religious stance. They rummage throughout his plays for traces that can manifest his religious inclination; however, they often fall easy preys of the theory of dichotomy. Among a great multitude of Shakespearean studies, many are devoted to the iconographical approach, but relatively few attempt to illustrate Shakespeare’s iconoclasm, particularly concerning the representation of kingship in history plays. In view of the two relatively unexplored fields, this dissertation purports to scrutinize how the egalitarian spirit of Protestantism, rather than Protestant theology, contributes to the new perception and iconoclastic representation of kingship in Shakespeare’s history plays. Based on a historical development of the idea of kingship, , this present study will elaborate from a dramatic perspective how Shakespeare manages to subvert the royal icons and spectacle that the ruling class used to rely on heavily. To assist readers with a comprehensive sense of the genre, I propose that the history play is a genre first initiated as part of the propagandistic program of the Henrician Reformation, whose impetus later changes into a driving force that facilities iconoclastic perception of the kingly image. Developed along with the public theater, the representation of kingship in Shakespeare’s history plays takes a secular turn, so the long sanctified image of monarch in royal iconography is challenged. However, the transformation does not take place simply out of political pressure, but dramatic concerns. A new system of imagery, developed on the theoretical basis of the king’s body natural, enriches the poetic language of political drama. Probing into the nature of kingship and the political issues of the Tudor reign, Shakespeare’s re-envision of the Tudor Monarchy is stripped off the allegorical signification of pageantry and then riddled with the medieval view of mutability. This present study will manifest how Shakespeare’s history plays reexamine the idealized royal image and take an aesthetic turn in representing historical events—featuring psychological complexity and rich verbal strategies. Further investigation is done to shed light on Shakespeare’s iconoclastic view of kingship to reveal the ways in which the dramatist redefines and demystifies monarchy.

TABLE OF CONTENTS

Introductio 1

Chapter I Spectacle, Propaganda, and the Body Politic 24

Chapter II The Reformation and the Birth of English History Plays 61

Chapter III Shakespeare’s Iconoclastic Representation of Kingship
in King John and Henry VIII 89

Chapter IV The Lancastrian Saint vs The Incompetent Monarch 129

Chapter V The Body Natural and the Seat of Sorrow 162

Conclusion 190

Illustrations 210

Works Cited 196

Illustrations 210

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