Henry V (Vol. 89) | Copyright Page

ISSN 0883-9123

Volume 89

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, Thomas J. Schoenberg, Lawrence J. Trudeau, Russel Whitaker

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Shakespearean Criticism, Vol. 89

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ISBN 0-7876-8827-4
ISSN 0883-9123

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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 89, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:

    Antioch Review, v. 56, summer, 1998. Copyright © 1998 by the Antioch Review Inc. Reproduced by permission of the Editors.—CLA Journal, v. 21, December, 1977. Copyright, 1977 by The College Language Association. Reproduced by permission of The College Language Association.—Criticism, v. 44, fall, 2002. Copyright, 2002, Wayne State University Press. Reproduced with permission of the Wayne State University Press.—Dissent, v. 50, fall, 2003. Copyright © 2003 by Dissent Publishing Corporation. Reproduced by permission.—English Studies in Canada, v. 11, March, 1985. Reproduced by permission of the publisher.—Entertainment Weekly, September 7, 2001. Reproduced by permission.—Financial Times, August 27, 1999. Copyright © 1999 by Financial Times Limited (UK). / January 10, 2000; March 8, 2000; May 14, 2003; July 16, 2003. Copyright © 2000, 2003 by Financial Times Limited. All rights reserved. Reproduced by permission.—First Things, v. 141, March, 2004. Copyright © 2004 Institute on Religion and Public Life. Reproduced by permission.—Journal of English and Germanic Philology, v. 77, July, 1978. Copyright © 1978 by the Board of Trustees of the University of Illinois. Reproduced by permission of the University of Illinois Press.—Literature/Film Quarterly, v. 25, 1997. Copyright © 1997 Salisbury State College, Salisbury, MD 21801. Reproduced by permission. Reproduced by permission of Literature/Film Quarterly.—New Criterion, v. 22, September, 2003 for “Henry Goes to Baghdad” by Mark Steyn. Copyright © Mark Steyn. Reproduced by permission of the author.—New York Post, July 16, 2003. Copyright © 2003 by

    N.Y.P. Holdings, Inc. Reproduced by permission.—New York Times, July 16, 2003. Copyright © 2003 by The New York Times Company. Reproduced by permission.—Observer, May 18, 2003 for “Adrian Lester is an Eerie, Modern Henry in a State-of-the-Nation Epic” by Susannah Clapp. Reproduced by permission of the author.—Papers on English Language & Literature, v. 1, spring, 1965. Copyright © 1965 by The Board of Trustees, Southern Illinois University at Edwardsville. Reproduced by permission.—PMLA, v. 118, May, 2003. Copyright © 2003 by the Modern Language Association of America. Reproduced by permission of the Modern Language Association of America.—Shakespeare Bulletin, v. 21, spring/summer, 2003. Reproduced by permission.—Shakespeare Quarterly, v. 2, spring, 1971. Copyright © The Folger Shakespeare Library, 1971. Reproduced by permission. / v. 19, spring, 1968; v. 38, summer, 1987; v. 45, spring, 1994 Copyright © 1968, 1987, 1994 The Johns Hopkins University Press. All reproduced by permission.—Shakespeare Studies: An Annual Gathering of Research, Criticism, and Reviews, v. 2, 1967. Copyright © 1967 by The Center for Shakespeare Studies. Reproduced by permission. / v. 9, 1976; v. 15, 1982. Copyright © 1976, 1982 by The Council for Research in the Renaissance. Both reproduced by permission.—Shakespeare Survey: An Annual Survey of Shakespearian Study and Production, v. 36, 1983; v. 56, 2003. Copyright © Cambridge University Press 1983, 2003. Reprinted with the permission of Cambridge University Press.—Spectator, March 11, 2000. Copyright © 2000 by the Spectator. Reproduced by permission of the Spectator.—Star-Ledger (Newark), July 16, 2003. Copyright © 2003 by the Star-Ledger. All rights reserved. Reproduced by permission.—Studies in English Literature 1500-1900, v. 13, spring 1973; v. 42, 2002. Copyright © 1973, 2002 the Johns Hopkins University Press. Both reproduced by permission.—Times Literary Supplement, May 14, 1999. Copyright © 1999 by the Times Supplements Limited. Reproduced from the Times Literary Supplement by permission.— Upstart Crow, v. 8, 1988. Copyright © 1988 by Drury College. All rights reserved. Reproduced by permission. / v. 20, 2000. Copyright © 2000 Clemson University. All rights reserved. Reproduced by permission.

    COPYRIGHTED MATERIAL IN SC, VOLUME 89, WAS REPRODUCED FROM THE FOLLOWING BOOKS:

    Alpers, Paul. From What Is Pastoral? University of Chicago Press, 1996. Copyright © 1996 by The University of Chicago. All rights reserved. Reproduced by permission.—Barthelemy, Anthony Gerard. From Critical Essays on Shakespeare’s Othello. Edited by Anthony Gerard Barthelemy. G. K. Hall, 1994. Copyright © 1987 by Louisiana University Press. Reproduced by permission of The Gale Group.—Brownlow, F. W. From Two Shakespearean Sequences: Henry VI to Richard II and Pericles to Timon of Athens. University of Pittsburgh Press, 1977. Reproduced with permission of Palgrave Macmillan.—Fowler, Alastair. From Pastoral Instruction in As You Like It. University of London Press, 1984. Copyright © University of London 1984. Reproduced by permission.—Gibbons, Brian. From “Amorous Fictions and As You Like It,”in Fanned and Winnowed Opinions. Edited by John W. Mahon and Thomas A. Pendleton. Methuen, 1987. The collection as a whole copyright © 1987 Methuen & Co., Ltd; the individual contributions copyright © 1987 the contributors. Reproduced by permission.—Lindenbaum, Peter. From Changing Landscapes. University of Georgia Press, 1986. Copyright © 1986 by the University of Georgia Press. All rights reserved. Reproduced by permission.—Lindheim, Nancy R. From “King Lear as Pastoral Tragedy,” in Some Facets of King Lear: Essays in Prismatic Criticism. Edited by Rosalie L. Colie and F. T. Flahiff. University of Toronto Press, 1974. Copyright © University of Toronto Press 1974. Reproduced by permission of the publisher.—McFarland, Thomas. From Shakespeare’s Pastoral Comedy. University of North Carolina Press, 1972. Copyright © 1972 by The University of North Carolina Press. All rights reserved. Reproduce by permission of the publisher.—O’Dair, Sharon. From Class, Critics, and Shakespeare: Bottom Lines on the Culture Wars. The University of Michigan Press, 2000. Copyright © 2000 by the University of Michigan. All rights reserved. Reproduced by permission.—Sadowski, Piotr. From Dynamism of Character in Shakespeare’s Mature Tragedies. University of Delaware Press, 2003. Copyright © 2003 by Rosemont Publishing & Printing Corp. All rights reserved. Reproduced by permission.—Wright, Louis B. and Virginia A. LaMar. From the Introduction to The Life of King Henry the Fifth, by William Shakespeare. Edited by Louis B. Wright and Virginia A. LaMar. Washington Square Press, 1960. Copyright © 1960 by Washington Square Press, Inc. Renewed 1988 by Frances B. Wright, William G. LaMar. All rights reserved. Reproduced with permission of Pocket Books, an imprint of Simon & Schuster Adult Publishing Group.

    PHOTOGRAPHS APPEARING IN SC, VOLUME 89, WERE RECEIVED FROM THE FOLLOWING SOURCES:

    As You Like It, Act II, scene i. Jaques in the Forest of Arden, painted by William Hodges, R.A., photograph. Shakespeare Collection, Special Collections Library, University of Michigan. Reproduced by permission.—Henry V, Act II, scene ii. Earl of Cambridge, Henry Scroop, Thomas Grey, King Henry V, Duke of Exeter, Earl of Westmoreland, Duke of Bedford, and attendants, engraving. The Dramatic Works of Shakespeare, Vol. II. John and Josiah Boydell, 1803. Shakespeare Collection, Special Collections Library, University of Michigan.—Henry V, Act III, scene iii. Henry V and attendant, engraving. The Dramatic Works of Shakespeare. John and Josiah Boydell, 1802. Shakespeare Collection, Special Collections Library, University of Michigan.—Henry V. Olivier, Laurence as King Henry V in the 1944 film adaptation of Henry V, directed by Laurence Olivier, photograph. © John Springer Collection/Corbis. Reproduced by permission.—Henry V. Olivier, Laurence as the disguised King Henry V among his troops in the 1944 film adaptation of Henry V, directed by Laurence Olivier, photograph. © John Springer Collection/Corbis. Reproduced by permission.—The Merry Wives of Windsor, Act III, scene iii. Mistress Ford and Falstaff, by J. McL. Ralston (artist) and Nargest (engraver). Special Collections Library, University of Michigan. Reproduced by permission.—Othello, Act I, scene iii. Emilia, Desdemona, Iago, Othello, Brabantio, the Duke, Senators, and Officers, by Charles Geofroy. Special Collections Library, University of Michigan. Reproduced by permission.—Othello, Act III, scene iv. Othello and Desdemona before the castle, by H. Fradelle (artist) and C. Pye (engraver). Special Collections Library, University of Michigan. Reproduced by permission.—Othello, Act V, scene ii. Othello and Desdemona in a bedchamber in the castle, by H. Hofmann (artist) and Tob. Bauer (engraver). Special Collections Library, University of Michigan. Reproduced by permission.—Othello, Act V, scene ii. Othello and Desdemona in a bedchamber in the castle, painted by James Graham, engraved by William Leney. Shakespeare Collection, Special Collections Library, University of Michigan. Reproduced by permission.—The Tempest. Jacobi, Derek as Prospero in the 2003 production of The Tempest at the Old Vic Theatre, directed by Michael Grandage, photograph. © Donald Cooper/ Photostage. Reproduced by permission.—Timon of Athens, Act I, scene ii. Timon, Lords, and servants in a banquetingroom in Timon’s house, painted by H. Howard, engraved by P. Rhodes, photograph. Shakespeare Collection, Special Collections Library, University of Michigan. Reproduced by permission.—Timon of Athens, Act IV, scene i. Timon, painted by

    H. Howard, engraved by Isaac Taylor, photograph. Shakespeare Collection, Special Collections Library, University of Michigan. Reproduced by permission.—Timon of Athens. Baruwa, Kemi as Phrynia, Michael Pennington as Timon, Rupert Penry-Jones as Alcibiades, and Nadine Marshall as Timandra in the 2000 Royal Shakespeare Company production of Timon of Athens at the Barbican Theatre, directed by Gregory Doran, photograph. © Donald Cooper/Photostage. Reproduced by permission.—Timon of Athens. Pennington, Michael as Timon in the 2000 Royal Shakespeare Company production of Timon of Athens at the Barbican Theatre, directed by Gregory Doran, photograph. © Donald Cooper/Photostage. Reproduced by permission.—The Winter’s Tale. Anderson, Mary as Perdita, c. 1887-1889, photograph. © 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 Heather Martin

    Librarian Arts & Humanities Librarian Oakland Public Library University of Alabama at Birmingham, Sterne Library Oakland, California Birmingham, Alabama

    Dr. Toby Burrows Susan Mikula

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

    Thomas Nixon Celia C. Daniel Humanities Reference Librarian

    Associate Reference Librarian University of North Carolina at Chapel Hill, Davis Howard University Libraries Library

    Washington, D.C. Chapel Hill, North Carolina

    David M. Durant Mark Schumacher

    Reference Librarian

    Joyner Library Jackson Library East Carolina University University of North Carolina at Greensboro

    Greenville, North Carolina Greensboro, North Carolina

    Nancy T. Guidry Gwen Scott-Miller

    Librarian Assistant Director Bakersfield Community College Sno-Isle Regional Library System Bakersfield, California Marysville, Washington

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