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Johan Galtung’s concept of a violence triangle consisting of direct, structural, and cultural violence is a useful prism through which to understand the relationship between violence and contemporary society. Nevertheless, it is also useful when examining the arguments for and against Shakespeare and Fletcher’s representation of violence. The Two Noble Kinsmen is perhaps the most interesting text when investigating Shakespeare and Fletcher’s dramatization of different types of violence from Galtung’s perspective. While it was previously discussed whether this work is indeed Shakespearian, it is now widely accepted to have been the last play that Shakespeare wrote and a collaborative work with John Fletcher. However, the play is also worth reading because it deals with the ways in which direct, structural, and cultural violence appeared to be mystified and fetished on stage. The depictions of male friendship and violence in the play have been discussed in terms of the play’s inter-textual relationship to Chaucer’s The Knight’s Tale. But, if we are examining Shakespeare and Fletcher’s general attitude toward their source material, especially female characterization, we can observe the extent to which structure and culture have made male authority in public and domestic affairs absolute and consolidated it as a dominant metaphor by means of a direct use of violence. Thus, in this paper, I argue that our reading of subtle modes of violence on Shakespeare and Fletcher’s stage, which go beyond boundaries such as gender, identity, and blood kin, provides further insight into the nature of our modern violent world.
