Abstract
This essay traces corporeal recognition across a range of Shakespearean plays, focusing on moments at which a feminine speaker addresses or describes a masculine corpse in hyperbolic terms. Such rhetorical encounters neither affirm nor reinstate an authorized narrative of the subject who is lost. Instead they mobilize counterfactual histories and futurities, which disrupt the processes that absorb or discard individual persons in the name of collective survival. Through these ambivalent, melancholic, necrophilic engagements, excessive and often improper language reaches past static social forms to acknowledge the idiosyncratic vitality of flesh.
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