A Matter for the Jury by Peter Murphy

By Peter Murphy

1964 brings clean demanding situations to Ben Schroeder, now a member of chambers headed by means of Bernard Wesley quality control. A dating couple were attacked at the banks of the River Ouse close to Ely. the scoop of thrashing, rape and homicide quickly turn into January's sensational headlines. Schroeder is termed to help the defence yet lead quality controls, Martin Hardcastle, has a name that is going ahead of him. because the strain mounts, speak of alcoholism fills the court with Hardcastle's repeated absences and likely reckless activities risking the help of his crew. And while a surprise choice is made, it's left to Ben and his colleague, Jess, to house the implications. With the case drawing mass media recognition and public opinion turning opposed to capital punishment, Schroeder needs to once more face the bias, scandal and corruption of the brutal court fact and its verdict at the destiny of a man's existence.

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Such experiments, it should be stressed, are often experienced by the characters who forget themselves as crises of identity, and forgetting is sometimes (as when associated with lethargy) understood in terms of pathology. This means that while forgetting is often productive, it does not necessarily have a liberatory force. Indeed, the call to forget can function in the service of a sinister restructuring of the social order. For instance, Claudius, in urging that Hamlet forget both his grief and his father in order to become “Our chiefest courtier, cousin, and our son” (1.

In light of this, consider the 28 Memory and Forgetting in English Renaissance Drama Figure 1. Reproduction of the title page to Sir Walter Ralegh’s The History of the World (1614) is by permission of the Folger Shakespeare Library. ”13 As James Bednarz puts it in his description of this image, “Oblivion and Death lie sleeping under the feet of History, the teacher of life. Death and Oblivion are conquered by the power of vigilant remembrance. ”14 Bednarz’s description needs some modification.

72 We can see, though, that memory and forgetting are categories in terms of which early modern debates about the theatre sometimes took place. In the rest of this book, I will attend to forgetting and memory in the work of Shakespeare, Marlowe and Webster. These three playwrights are interested not merely in the forgetful body, but also in the (not unrelated topic of the) roles of memory and forgetting in conceptualizing selfhood. For these writers, forgetting and memory chart multiple interfaces between the subject and society.

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