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Article Excerpt
We usually speak of casting suspicion or having it raised, but in these times when terrorism and counter-terrorism can be hard to distinguish, we have had to relearn what it means to invent suspicion. That there is a long history of individuals and governments inventing such a thing--of generating suspicion about those persons "which walke in the night, or sleep in the day," as William Lambarde prescribed for Elizabethan constables (Hutson 331)--should at least give us pause to suspect our own suspicions. Indeed, the use of suspicion, whether there is something to be suspicious about or not, has comprised a master political art in modernity, and perhaps the very hallmark of modernity, with techniques and goals first identified by Machiavelli.
No wonder the arts of suspicion are powerfully displayed in English Renaissance drama, which from one perspective can be seen as responding to monopolistic, centrist pressures from above--despite royal proclamations by Queen Elizabeth I not to make windows into men's souls, or by James I that commoners had their own Solomon-like conscience when acting as jurors. Hutson convincingly develops another view of the prevalence of suspicion in...
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