This is the first book to view Shakespeare's plays from the prospect of
the premodern death arts, not only the ars moriendi tradition but also
the plurality of cultural expressions of memento mori, funeral rituals,
commemorative activities, and rhetorical techniques and strategies
fundamental to the performance of the work of dying, death, and the
dead. The volume is divided into two sections: first, critically nuanced
examinations of Shakespeare's corpus and then, second, of Hamlet
exclusively as the ultimate proving ground of the death arts in
practice. This book revitalizes discussion around key and enduring
themes of mortality by reframing Shakespeare's plays within a newly
conceptualized historical category that posits a cultural divide--at
once epistemological and phenomenological--between premodernity and the
Enlightenment.