King John (Vol. 78) | Copyright Page
ISSN 0883-9123
Volume 78
Criticism of William Shakespeare’s Plays and Poetry, from the First Published Appraisals to Current Evaluations
Michael LaBlanc
Project Editor
Project Editor
Michael L. LaBlanc
Editorial
Jessica Bomarito, Jenny Cromie, Kathy D. Darrow, Elisabeth Gellert, Julie Keppen, Jelena
O. Krstovi, Michelle Lee, Thomas J. Schoenberg, Marie Toth, Lawrence J. Trudeau, Russel Whitaker
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Shakespearean Criticism, Vol. 78
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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 78, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:
America, v. 170, 1994. Copyright © 1994 by America. Reproduced by permission.—Bucknell Review, v. 29, 1985. Copyright © 1985 by Associated University Presses. Reproduced by permission.—Centennial Review, v. 33, winter, 1989. Reproduced by permission.—College English, v. 26, May, 1965 for “Claudio and the Unmerry War” by Hartley Lodwick. Copyright © 1965 by the National Council of Teachers of English. Reproduced by permission of the publisher and the author.—Comparative Drama, v. 23, summer, 1989. © copyright 1989, by the Editors of Comparative Drama. Reproduced by permission.—Costerus: Essays in English and American Language and Literature, v. 5, 1972. Copyright © 1972 by Costerus: Essays in English and American Language and Literature. Reproduced by permission.—Criticism, v. 42, 2000. Copyright © 2000 Wayne State University Press. Reproduced by permission of the publisher.—English, v. 27, 1978. © The English Association 1978. Reproduced by permission.—Essays in Criticism, v. XX, April, 1970. Copyright © 1970 by Essays in Criticism. Reproduced by permission.—Essays in Literature, v. 10, spring, 1983. Copyright 1983 by Western Illinois University. Reproduced by permission.—Neophilologus, v. 77, 1993. Copyright © 1993 by Kluwer Academic Publishers. Reproduced by permission.—New York, v. 33, February 21, 2000. Copyright © 2000 PRIMEDIA Magazine Corporation. All rights reserved. Reproduced with the permission of New York.—The New York Times, v. 145, August 26, 1996; v. 148, November 17, 1998. Copyright © 1996, 1998 by The New York Times. Both reproduced by permission.— Renaissance Drama, v. 24, 1993. Reproduced by permission.—Shakespeare Newsletter, v. 51, spring/summer, 2001. Copyright 2001. Reproduced by permission.—Shakespeare Quarterly, v. 18, winter, 1967; v. 24, winter, 1973; v. 35, winter, 1984. Copyright © 1967, 1973, 1984 by Folger Shakespeare Library. All reproduced by permission.—Shakespeare Studies: An Annual Gathering of Research, Criticism, and Reviews, v. I, 1965; v. XII, 1979. Copyright © Shakespeare Studies, 1965. Copyright © 1979 by The Council for Research in the Renaissance. Both reproduced by permission.— Shakespeare Survey, v. 29, 1976. Copyright 1976 by Cambridge University Press. Reproduced by permission.—The Spectator, v. 283, September 4, 1999; v. 289, August 17, 2002. Copyright © 1999, 2001 by The Spectator. Both reproduced by permission.—Studia Neophilologica, v. 50, 1978. Reproduced by permission.—Studies in English Literature 15001900, v. 22, spring, 1982; v. 31, spring, 1991. Copyright © 1982, 1991 by The Johns Hopkins University Press. Both reproduced by permission.—Style, v. 34, fall, 2000 for “Antimetabolic King John” by Maurice Hunt. Copyright © 2000. All rights reserved. Reproduced by permission of the publisher and the author.—Theatre Journal, v. 29, 1977; v. 48, 1996;
v. 54, 2002. Copyright © 1977, 1996, 2002 by The Johns Hopkins University Press. All rights reserved. All reproduced by permission.—Theoria, v. XLIX, October, 1977. Copyright © 1977 by Theoria. Reproduced by permission.—Times Literary Supplement, September 3, 1999; no. 5115, April 13, 2001. Copyright © 1999, 2001 by Times Literary Supplement. Both reproduced from The Times Literary Supplement by permission.—Variety, v. 377, February 7, 2000; v. 388, September 30-October 6, 2002. Copyright 2000, 2002 by Cahners Business Information, a division of Reed Elsevier, Inc. Both reproduced by permission.
COPYRIGHTED MATERIAL IN SC, VOLUME 78, WAS REPRODUCED FROM THE FOLLOWING BOOKS:
Abrams, Richard. From Afterimages: A Festschrift in Honor of Irving Massey. Edited by William Kumbier and Ann Colley. Shuffaloff, 1996. Copyright © 1996 by Shuffaloff Press. All rights reserved. Reproduced by permission.—Bevington, David. From “The Comedy of Errors”: Critical Essays. Edited by Robert S. Miola. Garland Publishing, 1997. Copyright © 1997 by Robert S. Miola. All rights reserved. Reproduced by permission of Routledge/Taylor & Francis Books, Inc.— Deer, Harriet A. From The Aching Hearth: Family Violence in Life and Literature. Edited by Sara Munson Deats and Lagretta Tallent Lenker. Plenum Press, 1991. Reproduced by permission of the author.—Gottlieb, Erika. From Essays on Shakespeare in Honour of A. A. Ansari. Edited by T. R. Sharma. Shalabh Book House, 1986. Copyright © T. R. Sharma. All rights reserved. Reproduced by permission.—Maguire, Laurie. From “The Comedy of Errors”: Critical Essays. Edited by Robert S. Miola. Garland Publishing, 1997. Copyright © 1997 by Robert S. Miola. All rights reserved. Reproduced by permission of Routledge/Taylor & Francis Books, Inc.—Nevo, Ruth. From Modern Critical Interpretations: William Shakespeare’s “The Taming of the Shrew.” Edited by Harold Bloom. Chelsea House Publishers, 1988. Copyright © 1998 by Harold Bloom. All rights reserved. Reproduced by permission.—Oliver, H. J. From The Oxford Shakespeare: “The Taming of the Shrew.” Edited by H. J. Oliver. Oxford University Press, 1982. Copyright © 1982 by Oxford University Press. All rights reserved. Reproduced by permission of Oxford University Press.—Pendergast, John S. From “Love’s Labour’s Lost”: A Guide to the Play. Greenwood Publishing Group, 2002. Copyright © 2002 by John S. Pendergast. Reproduced by permission of Greenwood Publishing Group, Inc., Westport, CT.—Roberts, Jeanne Addison. From Shakespeare’s Sweet Thunder: Essays on Early Comedies. Edited by Michael J. Collins. Associated University Presses, 1997. Copyright © 1997 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Shaw, Catherine
M. From Shakespearean Comedy. Edited by Maurice Charney. New York Literary Forum, 1980. Copyright © 1980 by New York Literary Forum. All rights reserved. Reproduced by permission.—Weller, Barry. From Creative Imitation: New Essays on Renaissance Literature in Honor of Thomas M. Green. Edited by David Quint, Margaret W. Ferguson, G. W. Pigman III, and Wayne A. Rebhorn. Medieval and Renaissance Texts and Studies, 1992. Copyright © 1992 by Center for Medieval and Early Renaissance Studies State University of New York at Binghamton. All rights reserved. Reproduced by permission.
PHOTOGRAPHS APPEARING IN SC, VOLUME 78, WERE RECEIVED FROM THE FOLLOWING SOURCES:
Arthur, Constance, Pandulph, and the English party, “The French Party,” from King John, Act III, scene i, from Galerie des Personnages de Shakespeare, by Amedee Pichot. Paris: Baudry, 1844. Special Collections Library, University of Michigan. Reproduced by permission.—Atkinson, Kimberly, as Beatrice, Stephan Loch as Benedick, in the 2000 GreenStage production of Much Ado about Nothing, written by William Shakespeare, Act II, scene i: A hall in Leonato’s house, directed by Stacey Lind, photograph by Ken Holmes © 2000 GreenStage. Reproduced by permission.—Conet, Stella, as Isabella in a Royal Shakespeare Company production of Measure for Measure, performed at the Barbican, London, England, October 1994, photograph. © Robbie Jack/Corbis. Reproduced by permission.—Constance, Arthur, and Salisbury, from King John, Act III, scene i, engraving by G. Goldburg after a painting by F. Dicksee, 1886, opp. p. 61, from Shakespearean Scenes and Characters...from Betterton to Irving, by Austin Brereton. London: Cassell & Co., 1886. Special Collections Library, University of Michigan. Reproduced by permission.—Cordelia—King Lear, colored pencil illustration by Kenny Meadows, showing Cordelia from Shakespeare’s play King Lear, 1880. © Blue Lantern Studios/Corbis. Reproduced by permission.—Frontispiece to the Verplanck edition of Shakespeare’s Works, 1847, showing Timon of Athens, Act I, scene ii. Reproduced by permission of the Folger Shakespeare Library.—Holmes, Ken, (l to r) as Dogberry, Robert Myers as Leonato, and Tara Jensen as Verges, in the 2000 GreenStage production of Much Ado about Nothing, written by William Shakespeare, Act III, scene v: Another room in Leonato’s house, directed by Stacey Lind, photograph by Katrina Jensen. Copyright © 2000 GreenStage. Reproduced by permission.—Illustration of Shakespeare’s Timon of Athens, Act V, scene iv: Before the walls of Athens ...Herelie I, Timon... by A.M. Shaw, 1902. Reproduced by permission of the Folger Shakespeare Library.—Illustration from Galerie des Personnages de Shakspeare, written by Amedee Pichot, a collage of images from William Shakespeare’s play King John, Act IV, scene i, engraving. Special Collections Library, University of Michigan. Reproduced by permission.—Johnson, Craig, as Borachio (l to r), Roy Stanton as Don John, and Dom Zook as Claudio in the 2000 GreenStage production of Much Ado about Nothing, written by William Shakespeare, Act II, scene i, A Hall in Leonato’s house, directed by Stacey Lind, photograph by Ken Holmes © 2000 GreenStage. Reproduced by permission.—Lewis, King Philip, Pandolph, and Constance, Near Angiers, from King John, Act II, scene iv, engraving by Smith after a painting by Richard Westall, plate 53, 1796, from The Gallery of Illustrations for Shakespeare’s Dramatic Works, by John Boydell. Edited by J. Parker Norris. Philadelphia: Gebbie & Barrie, 1874. Special Collections Library, University of Michigan. Reproduced by permission. —Much Ado about Nothing, Act V, scene i: A church, engraved by H. Gravelot from a design by F. Hayman, published 1744, in a collection of Shakespeare’s plays. Reproduced by permission of the Folger Shakespeare Library.—Much Ado about Nothing, Act V, scene iv, engraving by J. H. Watt after a painting by F. P Stephanoff, 1826, from Smirke’s Illustrations to Shakespeare’s Works, London, 1821-1829. Special Collections Library, University of Michigan. Reproduced by permission.—Pembroke, Arthur, and Salisbury, from King John, Act IV, scene iii, engraving by Isaac Taylor after a painting by R. K. Porter, 1803, from Shakespeare—Plates from Boydell, by John Boydell. London:
J. & J. Boydell, 1791-1803. Special Collections Library, University of Michigan. Reproduced by permission.—Soldiers, Phrynia, Timandra and Timon of Athens, Wood and Cave, Near the Sea-shore, from Timon of Athens, Act IV, scene iii, engraving by Thew after a painting by John Opie, 1803, from The Gallery of Illustrations for Shakespeare’s Dramatic Works, by John Boydell. Edited by J. Parker Norris. Philadelphia: Gebbie & Barrie, 1874. Special Collections Library, University of Michigan. Reproduced by permission.—Stuart Douglas, Andrea (l to r) as Ursula, Kimberly Atkinson as Beatrice, Melanie Carey as Hero, Dom Zook as Claudio, and Robert Myers as Leonato, in the 2000 GreenStage production of Much Ado about Nothing, written by William Shakespeare, Act IV, scene i: A church, directed by Stacey Lind, photograph by Katrina Jensen. Copyright © 2000 GreenStage. Reproduced by permission.—Timon of Athens, Act IV, scene iii: Woods and cave near the seashore, Alcibiades, soldiers, Phrynia, Timandra, frontispiece to the Hanmer edition of Shakespeare’s Works by F. Hayman (1744). Reproduced by permission of the Folger Shakespeare Library.—Zook, Dom, as Claudio and Stephan Loch as Benedick (l to r) in the 2000 GreenStage production of Much Ado about Nothing, written by William Shakespeare, Act II, scene i: A hall in Leonato’s house, directed by Stacey Lind, photograph by Ken Holmes © 2000 GreenStage. Reproduced by permission.
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Dr. Toby Burrows Mary Jane Marden
Principal Librarian Literature and General Reference Librarian The Scholars’ Centre St. Petersburg Jr. College University of Western Australia Library
Mark Schumacher David M. Durant
Jackson Library Joyner Library
East Carolina University University of North Carolina at Greensboro
Steven R. Harris Gwen Scott-Miller
English Literature Librarian Assistant Director of Materials and Programming University of Tennessee Sno-Isle Regional Library System
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