Coriolanus (Vol. 86) | Copyright Page

ISSN 0883-9123

Volume 86

Criticism of William Shakespeare’s Plays and Poetry, from the First Published Appraisals to Current Evaluations

Michelle Lee

Project Editor

Project Editor

Michelle Lee

Editorial

Jessica Bomarito, Kathy D. Darrow, Jeffrey W. Hunter, Jelena O. Krstovi ´

c, Ellen McGeagh, Joseph Palmisano, Linda Pavlovski, Thomas J. Schoenberg, Lawrence J. Trudeau, Russel Whitaker

© 2005 Thomson Gale, a part of The Thomson Corporation. Thomson and Star Logo are trademarks and Gale is a registered trademark used herein under license.

For more information, contact

Thomson Gale 27500 Drake Rd. Farmington Hills, MI 48331-3535 Or you can visit our internet site at http://www.gale.com

ALL RIGHTS RESERVED

No part of this work covered by the copyright herein may be reproduced or used in any form or by any means—graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution, or information storage retrieval systems—without the written permission of the publisher.

Shakespearean Criticism, Vol. 86

Data Capture

Francis Monroe, Gwen Tucker

Rights and Acquisitions

Peg Ashlevitz, Lori Hines, Shalice Shah-Caldwell

Imaging and Multimedia

Robert Duncan, Lezlie Light, Kelly A. Quin

This publication is a creative work fully protected by all applicable copyright laws, as well as by misappropriation, trade secret, unfair competition, and other applicable laws. The authors and editors of this work have added value to the underlying factual material herein through one or more of the following: unique and original selection, coordination, expression, arrangement, and classification of the information.

For permission to use material from the product, submit your request via the Web at http://www.gale-edit.com/permissions, or you may download our Permissions Request form and submit your request by fax or mail to:

Permisssions Department

Thomson Gale 27500 Drake Rd. Farmington Hills, MI 48331-3535 Permissions Hotline: 248-699-8006 or 800-877-4253, ext. 8006 Fax 248-699-8074 or 800-762-4058

Composition and Electronic Prepress

Kathy Sauer

Manufacturing

Rhonda Williams

Product Manager

Janet Witalec

Since this page cannot legibly accommodate all copyright notices, the acknowledgments constitute an extension of the copyright notice.

While every effort has been made to secure permission to reprint material and to ensure the reliability of the information presented in this publication, Thomson Gale neither guarantees the accuracy of the data contained herein nor assumes any responsibility for errors, omissions or discrepancies. Thomson Gale accepts no payment for listing; and inclusion in the publication of any organization, agency, institution, publication, service, or individual does not imply endorsement of the editors or publisher. Errors brought to the attention of the publisher and verified to the satisfaction of the publisher will be corrected in future editions.

LIBRARY OF CONGRESS CATALOG CARD NUMBER 86-645085

ISBN 0-7876-8824-X
ISSN 0883-9123

Printed in the United States of America 10987654321

Preface

S
hakespearean Criticism (SC) provides students, educators, theatergoers, and other interested readers with valuable insight into Shakespeare’s drama and poetry. A multiplicity of viewpoints documenting the critical reaction of scholars and commentators from the seventeenth century to the present day derives from hundreds of periodicals and books excerpted for the series. Students and teachers at all levels of study will benefit from SC, whether they seek information for class discussions and written assignments, new perspectives on traditional issues, or the most noteworthy of analyses of Shakespeare’s artistry.

Scope of the Series

Volumes 1 through 10 of the series present a unique historical overview of the critical response to each Shakespearean work, representing a broad range of interpretations.

Volumes 11 through 26 recount the performance history of Shakespeare’s plays on the stage and screen through eyewitness reviews and retrospective evaluations of individual productions, comparisons of major interpretations, and discussions of staging issues.

Volumes 27 through 56 in the series focus on criticism published after 1960, with a view to providing the reader with the most significant modern critical approaches. Each volume is ordered around a theme that is central to the study of Shakespeare, such as politics, religion, or sexuality. The topic entry that introduces each volume is comprised of general essays that discuss this theme with reference to all of Shakespeare’s works. Following the topic entry are several entries devoted to individual works. Beginning with volume 57 in the series, SC provides a works-based approach; each of the four entries contained in a regular volume focuses on a specific Shakespearean play or poem. The entries will include the most recent criticism available on the works, as well as earlier criticism not previously included in SC. Select volumes contain topic entries comprised of essays that analyze various topics, or themes, found in Shakespeare’s works. Past topic entries have covered such subjects as Honor, Jealousy, War and Warfare, and Elizabethan Politics.

Until volume 48, published in October 1999, SC compiled an annual volume of the most noteworthy essays published on Shakespeare during the previous year. The essays, reprinted in their entirety, were recommended to Thomson Gale by an international panel of distinguished scholars.

Organization of the Book

An SC entry consists of the following elements:

  • © The Introduction contains background information that introduces the reader to the work or topic that is the subject of the entry and outlines modern interpretations of individual Shakespearean topic, plays, and poems.
  • © Reprinted Criticism for each entry consists of essays arranged chronologically under a variety of subheadings to facilitate the study of different aspects of the play, poem, or topic. This provides an overview of the major areas of concern in the analysis of Shakespeare’s works, as well as a useful perspective on changes in critical evaluation over recent decades. The critic’s name and the date of composition or publication of the critical work are given at the beginning of each piece of criticism. Unsigned criticism is preceded by the title of the source in which it appeared. Footnotes are reprinted at the end of each essay or excerpt. In the case of excerpted criticism, only those footnotes that pertain to the excerpted texts are included.
  • © A complete Bibliographical Citation of the original essay or book precedes each piece of criticism.

    • Acknowledgments

    The editors wish to thank the copyright holders of the excerpted criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Library, Wayne State University Purdy/Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of SC. Every effort has been made to trace copyright, but if omissions have been made, please let us know.

    COPYRIGHTED MATERIAL IN SC, VOLUME 86, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:

    Ball State University Forum, v. 19, spring, 1978. Copyright © 1978 Ball State University. Reproduced by permission.— English Literary Renaissance, v. 19, autumn, 1989. Copyright © 1989 English Literary Renaissance. Reprinted with the permission of the editors.—English Studies in Canada, v. 13, September, 1987 for “The Mind of Coriolanus” by John Bligh. Copyright © 1987 English Studies in Canada. Reproduced by permission of the publisher and the author.—Essays in Criticism, v. 15, July, 1965 for “The Life of Shame: Parolles and All’s Well” by Robert Hapgood. Copyright © 1965 Essays in Criticism. Reproduced by permission.—Exemplaria, v. 6, fall, 1994. Copyright © Center for Medieval and Early Renaissance Studies, SUNY. Reproduced by permission.—Guardian, May 5, 2003. Copyright © 2003 by Guardian Publications Ltd. Reproduced by permission of Guardian News Service, LTD.—Journal of English and Germanic Philology, v. 71, October, 1972. Copyright © 1972 by the Board of Trustees of the University of Illinois. Reproduced by permission of the University of Illinois Press.—Modern Language Quarterly, v. 28, June, 1967. Copyright © 1967 by Duke University Press, Durham, NC. Used by permission.—Philological Quarterly, v. 50, January, 1971 for “All’s Well That Ends Well and the Meaning of Agape” by Carl Dennis; v. 73, spring, 1994 for “Farther Privileges: Conflict and Change in Measure for Measure” by Mark Taylor; v. 76, summer, 1997 for “The Many Masks of Parolles” by R. J. Schork. Copyright © 1971, 1994, 1997 by The University of Iowa, founded in 1847 as The State University of Iowa. All reproduced by permission of the respective authors.—Salt Lake Tribune, June 27, 2003. Copyright © Salt Lake Tribune 2003. Reproduced by permission.—San Francisco Chronicle, August 11, 2003. Copyright © 2003 San Francisco Chronicle. Republished with permission of San Francisco Chronicle, conveyed through Copyright Clearance Center, Inc.—Shakespeare Newsletter, v. 53, summer, 2003. Copyright © 2003 Shakespeare Newsletter. Reproduced by permission.—Shakespeare Quarterly,

    v. 54, 2003. Copyright © 2003 The Folger Shakespeare Library. All rights reserved. Reproduced by permission.— Shakespeare Studies, v. XXII, 1994. Copyright © 1994 by Associated University Presses. All rights reserved. Reproduced by permission.—Shakespeare Studies: An Annual Survey of Shakespearian Study and Production, v. 12, 1979. Copyright © 1979, The Council for Research in the Renaissance. Reprinted with the permission of Cambridge University Press.— Shakespeare Survey: An Annual Survey of Shakespearian Study and Production, v. 30, 1977; v. 38, 1985. Copyright © Cambridge University Press 1977, 1985. Both reprinted with the permission of Cambridge University Press.—Spectator,v. 290, December 7, 2002; v. 293, December 27, 2003. Copyright © 2002, 2003 Spectator. All reproduced by permission.— Studies in Philology, v. 92. Copyright © 1995 by The University of North Carolina Press. Reproduced by permission of the publisher.—Texas Studies in Literature and Language, v. 14 for “The Mythical Structure of All’s Well That Ends Well,” by David M. Bergeron. Copyright © 1973 by the University of Texas Press. Reproduced by permission of the publisher and the author. All rights reserved.—Theatre Journal, v. 55, 2003. Copyright © 2003, University and College Theatre Association of the American Theatre Association. Reproduced by permission of The Johns Hopkins University Press.—Upstart Crow, v. 9, 1989; v. 19, 1999. Copyright © 1989, 1999 Clemson University. All rights reserved. Both reproduced by permission.—Variety, v. 380, September 18, 2000; v. 383, June 25, 2001; v. 393, December 22, 2003. Copyright © 2000, 2001, 2003 Cahners Business Information. All reproduced by permission.—Washington Post, November 6, 2003. Copyright © 2003, Washington Post Book World Service/Washington Post Writers Group. Reproduced by permission.

    COPYRIGHTED MATERIAL IN SC, VOLUME 86, WAS REPRODUCED FROM THE FOLLOWING BOOKS:

    Alexander, Nigel. From Shakespeare: Measure for Measure. Edward Arnold, 1975. Copyright © 1975 Edward Arnold. Reproduced by permission.—Bache, William B. From Measure for Measure as Dialectical Art. Purdue University Studies, 1969. Copyright © 1969 by Purdue Research Foundation. Reproduced by permission.—Bennett, Robert B. From Romance and Reformation: The Erasmian Spirit of Shakespeare’s Measure for Measure. Associated University Presses, 2000. Copyright © 2000 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Black, James. From Pageantry in the Shakespearean Theater. University of Georgia Press, 1985. Copyright © by the University of Georgia Press, Athens, Georgia 30602. All rights reserved. Reproduced by permission.—Clary, Frank Nicholas. From “Imagine No Worse of Them: Hippolyta on the Ritual Threshold in Shakespeare’s A Midsummer Night’s Dream,”in Ceremony and Text in the Renaissance. Edited by Douglas F. Rutledge. University of Delaware Press, 1996. Copyright © by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Cole, Susan Letzler. From The Absent One: Mourning Ritual, Tragedy, and the Performance of Ambivalence. Pennsylvania State University Press, 1985. Copyright © 1985 The Pennsylvania State University. All rights reserved. Reproduced by permission.—Conn Liebler, Naomi. From Shakespeare’s Festive Tragedy: The Ritual Foundations of Genre. Routledge, 1995. Copyright © 1995 by Naomi Conn Liebler. Reproduced by permission of the publisher and the author.—Fujita, Minoru. From Pageantry and Spectacle in Shakespeare. Renaissance Institute, 1982. Copyright © 1982, Minoru Fujita. Reproduced by permission.—Goddard, Harold C. From The Meaning of Shakespeare. University of Chicago Press, 1951. Copyright © 1951 by the University of Chicago. Renewed 1979 by Margaret G. Holt and Eleanor G. Worthen. Reproduced by permission.— Haley, David. From Shakespeare’s Courtly Mirror: Reflexivity and Prudence in All’s Well That Ends Well. Associated University Presses, 1993. Copyright © 1993 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Harrier, Richard. From Shakespeare: Text, Language, Criticism: Essays in Honour of Marvin Spevack. Georg Olms AG, 1987. Copyright © Georg Olms AG, Hildesheim 1987. Reproduced by permission of the author.— Hawkins, Harriet. From Harvester New Critical Introductions to Shakespeare: Measure for Measure. Harvester Press, 1987. Copyright © Harriet Hawkins, 1987. All rights reserved. Reproduced by permission.—Kendall, Gillian Murray. From True Rites and Maimed Rites: Ritual and Anti-Ritual in Shakespeare and His Age. University of Illinois Press, 1992. Copyright © 1992 by the Board of Trustees of the University of Illinois. Reproduced by permission of the University of Illinois Press.—Korda, Natasha. From Shakespeare’s Domestic Economies: Gender and Property in Early Modern England. University of Pennsylvania Press, 2002. Copyright © 2002 University of Pennsylvania Press. All rights reserved. Reproduced by permission.—Palmer, Barbara D. From Pageantry in the Shakespearean Theater. University of Georgia Press, 1985. Copyright © by the University of Georgia Press, Athens, Georgia 30602. All rights reserved. Reproduced by permission.—Parker, R. B. From the introduction to The Oxford Shakespeare: The Tragedy of Coriolanus. Edited by R.

    B. Parker. Clarendon Press, 1994. Copyright © R. B. Parker 1994. All rights reserved. Reproduced by permission of Oxford University Press.—Poole, Adrian. From “You Shames of Rome,” in Harvester New Critical Introductions to Shakespeare: Coriolanus. Edited by Adrian Poole. Harvester Wheatsheaf, 1988. Copyright © 1988 Adrian Poole. All rights reserved. Reproduced by permission of Pearson Education Limited.—Snyder, Susan. From the introduction to The Oxford Shakespeare: All’s Well That Ends Well. Edited by Susan Snyder. Oxford University Press, 1993. Copyright © Susan Snyder 1993. All rights reserved. Reproduced by permission.—Thomas, Vivian. From “Order and Authority in Measure for Measure,”in The Moral Universe of Shakespeare’s Problem Plays. Croom Helm, 1987. Copyright © 1987 Vivian Thomas. Reproduced by permission of the publisher and the author.—Thomas, Vivian. From Shakespeare’s Roman Worlds. Routledge, 1989. Copyright © 1989 Vivian Thomas. All rights reserved. Reproduced by permission of the publisher and the author.—Thomas, Vivian. From “Virtue and Honor in All’s Well That Ends Well,”in The Moral Universe of Shakespeare’s Problems Plays. Croom Helm, 1987. Copyright © 1987 Vivian Thomas. Reproduced by permission of the publisher and the author.

    PHOTOGRAPHS APPEARING IN SC, VOLUME 86, WERE RECEIVED FROM THE FOLLOWING SOURCES:

    All’s Well That Ends Well, Act IV, scene iii. Parolles, French Lords, and Bertram. Frontispiece to the 1709 Rowe edition. By permission of The Folger Shakespeare Library.—All’s Well That Ends Well, Act V, scene iii. The King of France, Lafew, Bertram, and Diana.—All’s Well That Ends Well. Barbara Jefford as the Countess, Sophie Thompson as Helena, and Richard Johnson as the King of France in the 1992 Royal Shakespeare Company production of All’s Well That Ends Well at the Swan Theatre in Stratford-upon-Avon, photograph. Copyright © Donald Cooper/Photostage. Reproduced by permission.—As You Like It, Act IV, scene iii. Rosiland, Celia, and Oliver, by Robert Smirke. Shakespeare Collection, Special Collections Library, University of Michigan. Reproduced by permission.—Coriolanus, Act IV, scene i. Volumnia, Coriolanus, Young Martius, and others, engraving. Special Collections Library, University of Michigan. Reproduced by permission.—Coriolanus, Act IV, scene v. Aufidius and Coriolanus, by R. K. Porter (artist) and James Parker (engraver). Special Collections Library, University of Michigan. Reproduced by permission.—Coriolanus, Act V, scene iii, Coriolanus, Aufidius, Virgilia, Volumnia, Valeria, and Young Martius, engraving from painting by William Hamilton. Special Collections Library, University of Michigan. Reproduced by permission.—Coriolanus. Ralph Fiennes as Coriolanus in the 2000 Almeida Theatre production of Coriolanus, photograph. Copyright © Donald Cooper/Photostage. Reproduced by permission.—Henry IV, Part 1, Act V, scene iv. Falstaff. Shakespeare Collection, Special Collections Library, University of Michigan. Reproduced by permission.—King Lear, Act I, scene i. King of France, Cordelia, Goneril, Regan, Duke of Albany, and Duke of Cornwall, by Robert Smirke. Shakespeare Collection, Special Collections Library, University of Michigan. Reproduced by permission.—Measure for Measure, Act II, scene i. Froth, Pompey, Escalus, Angelo, and Elbow, by Riley (1791). By permission of The Folger Shakespeare Library.—Measure for Measure, Act III, scene i. Claudio, Isabella, and the Duke, by Henry Fuseli (1803). By permission of The Folger Shakespeare Library.—Measure for Measure, Act III, scene i. The Duke, Isabella, and Claudio.—Richard III. David Troughton as Richard III in the 1996 Royal Shakespeare Company production of Richard III, photograph. Copyright © Robbie Jack/Corbis.

    Thomson Gale Literary Criticism Series Advisory Board

    The members of the Thomson Gale Literary Criticism Series Advisory Board—reference librarians and subject specialists from public, academic, and school library systems—represent a cross-section of our customer base and offer a variety of informed perspectives on both the presentation and content of our literature criticism products. Advisory board members assess and define such quality issues as the relevance, currency, and usefulness of the author coverage, critical content, and literary topics included in our series; evaluate the layout, presentation, and general quality of our printed volumes; provide feedback on the criteria used for selecting authors and topics covered in our series; provide suggestions for potential enhancements to our series; identify any gaps in our coverage of authors or literary topics, recommending authors or topics for inclusion; analyze the appropriateness of our content and presentation for various user audiences, such as high school students, undergraduates, graduate students, librarians, and educators; and offer feedback on any proposed changes/ enhancements to our series. We wish to thank the following advisors for their advice throughout the year.

    Barbara M. Bibel

    Librarian Oakland Public Library Oakland, California

    Dr. Toby Burrows

    Principal Librarian The Scholars’ Centre University of Western Australia Library Nedlands, Western Australia

    Celia C. Daniel

    Associate Librarian, Reference Howard University Washington, D.C.

    David M. Durant

    Reference Librarian Joyner Library East Carolina University Greenville, North Carolina

    Nancy Guidry

    Librarian Bakersfield Community College Bakersfield, Calafornia

    Steven R. Harris

    Collection Development Librarian Utah State University Logan,Utah

    Mary Jane Marden

    Collection Development Librarian St. Petersburg Jr. College Pinellas Park, Florida

    Heather Martin

    Arts & Humanities Librarian University of Alabama, Sterne Library Birmingham, Alabama

    Susan Mikula

    Director Indiana Free Library Indiana, Pennsylvania

    Thomas Nixon

    Humanities Reference Librarian University of North Carolina, Davis Library Chapel Hill, North Carolina

    Mark Schumacher

    Jackson Library University of North Carolina

    Gwen Scott-Miller

    Assistant Director Sno-Isle Regional Library System Marysville, Washington

    Donald Welsh

    Head, Reference Services College of William and Mary, Swem Library Williamsburg, Virginia

    Dictionary Tip:

    Lookup any word on eNotes with our dictionary. Highlight the word and press SHIFT + D for a definition, or SHIFT + T for a synonym.