Shakespearean Criticism

The Merchant of Venice (Vol. 66) | Copyright Page

ISSN 0883-9123

Volume 66

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

Michelle Lee

Editor

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Library of Congress Catalog Card Number 86-645085
ISBN 0-7876-5844-8
ISSN 0883-9123
Printed in the United States of America

10987654321

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 EXCERPTS IN SC, VOLUME 66, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:

Cardozo Studies in Law and Literature, v. 5, Spring, 1993. Reproduced by permission.—CLA Journal, v. 37, 1993. Reproduced by permission.—Commentary, v. 96, 1993 for “Who Is Shylock?” by Robert Alter. Copyright © 1993 by the American Jewish Committee. All rights reserved. Reproduced by permission of the publisher and the author.—Early Modern Literary Studies, v. 2, 1996. Reproduced by permission.—International Journal of Psycho-Analysis, v. 36, March-April, 1955. Copyright © Institute of Psychoanalysis. Reproduced by permission of the publisher and author.— Mediaevalia: A Journal of Medieval Studies, v. 16, 1993. Reproduced by permission.—The New York Times, May 19, 2001. Copyright © 2001 by the New York Times Co. Reproduced by permission.—Paciﬁc Coast Philology, v. 12, October, 1977. Reproduced by permission.—Philosophy and Literature, v. 21, October, 1997. Reproduced by permission.— Renascence, v. 51, Summer, 1999. Reproduced by permission.—Representations, v. 57, Winter, 1997 for “Othello Circumcised: Shakespeare and the Pauline Discourse of Nations” by Julia Reinhard Lupton. Copyright © 1997 by The Regents of the University of California. Reproduced by permission of the publisher and the author.—The Sewanee Review,

v. 105, Winter, 1997. Copyright © 1997 by David Solway. Reproduced by permission of the editor.—Shakespeare Newsletter, v. 48, Summer, 1998. Reproduced by permission.—Shakespeare Quarterly, v. 4, April, 1953; v. 26, Winter, 1975; v. 50, Spring, 1999; v. 51, Fall, 2000. Reproduced by permission of Johns Hopkins University Press.—Shakespeare Studies, v. 4, 1969; v. 12, 1979; v. 17, 1985; v. 18, 1986. Reproduced by permission.—Shakespeare Survey, v. 33, 1980; v. 50, 1997; v. 52, 1999. Reproduced by permission of Cambridge University Press.—Soundings, v. 70, Spring/Summer, 1987. Reproduced by permission.—Studies in English Literature, 1500-1900, v. 30, Spring, 1990. Reproduced by permission.—Studies in the Humanities, v. 17, June, 1990. Reproduced by permission.—TCI, v. 32, January, 1998. Copyright © 2002, PRIMEDIA Business Magazine & Media Inc. All rights reserved. Reproduced by permission.—Textual Practice, v. 5, Spring, 1991. Reproduced by permission of the publisher and the author. www.tandf.co.uk/journals.—Variety, v. 375, August 2, 1999; v. 378, April 3-9, 2000. Reproduced by permission.

COPYRIGHTED EXCERPTS IN SC, VOLUME 66, WERE REPRODUCED FROM THE FOLLOWING BOOKS:

Abrams, Richard. From “The Gaping Pig—and Worse: Shylock’s Christian Ducats,” in Afterimages: A Festschrift in Honor of Irving Massey. Shuffaloff, 1996. Copyright © 1996 by Shuffaloff. All rights reserved. Reproduced by permission.—Battenhouse, Roy. From “Introduction: An Overview of Christian Interpretation,” in Shakespeare’s Christian Dimension. Indiana University Press, 1994. Copyright © 1994 by Indiana University Press. All rights reserved. Reproduced by permission.—Berley, Marc. From “Jessica’s Belmont Blues: Music and Merriment in The Merchant of Venice,”in Opening the Borders: Inclusivity in Early Modern Studies. Associated University Presses, 1999. Copyright © 1999 by Associated University Presses. All rights reserved. Reproduced by permission.—Bloom, Harold. From “Pericles,”in Shakespeare: The Invention of the Human. Riverhead Books, 1998. Copyright © 1998 by Riverhead Books. All rights reserved. Reproduced by permission of Riverhead Books, a division of Penguin Putnam, Inc.—Bryant, James C. From “Shakespeare’s Use of Religious Controversy in King John,”in Tudor Drama and Religious Controversy. Mercer University Press, 1984. Copyright © 1984 by Mercer University Press. All rights reserved. Reproduced by permission.— Delvecchio, Doreen and Antony Hammond. From the Introduction to Pericles, Prince of Tyre. Cambridge University Press, 1998. Copyright © 1998 by Cambridge University Press. All rights reserved. Reproduced by permission of Cambridge University Press.—Hall, Jonathan. From “Mercantilism and Desire in The Comedy of Errors,”in Anxious Pleasures: Shakespearean Comedy and the Nation-State. Fairleigh Dickinson University, 1995. Copyright © 1995 by Fairleigh Dickinson University Press. All rights reserved. Reproduced by permission.—Hunter, Robert G. From “Shake

speare’s Comic Sense as It Strikes Us Today: Falstaff and the Protestant Ethic,” in Shakespeare: Pattern of Excelling Nature. University of Delaware Press, 1978. Copyright © 1978 by University of Delaware Press. All rights reserved. Reproduced by permission.—Kleinberg, Seymour. From “The Merchant of Venice: The Homosexual as Anti-Semite in Nascent Capitalism,” in Literary Visions of Homosexuality. Haworth Press, 1983. Copyright © 1983 by Haworth Press. All rights reserved. Reproduced by permission.—Lewis, Cynthia. From “’A Foolish Consistency’: Antonio and Alienation in The Merchant of Venice,”in Particular Saints: Shakespeare’s Four Antonios, Their Contexts, and Their Plays. Associated University Presses, 1997. Copyright © 1997 by Associated University Presses. All rights reserved. Reproduced by permission.—MacCary, W. Thomas. From “The Early Comedies: The Comedy of Errors,”in Friends and Lovers: The Phenomenology of Desire in Shakespearean Comedy. Columbia University Press, 1985. Copyright © 1985 by Columbia University Press. All rights reserved. Reproduced by permission.—McDonald, Russ. From “Fear of Farce,” in “Bad” Shakespeare: Revaluations of the Shakespearean Canon. Fairleigh Dickinson University, 1988. Copyright © 1988 by Fairleigh Dickinson University Press. All rights reserved. Reproduced by permission.—Rosen, Alan. From “The Rhetoric of Exclusion: Jew, Moor, and the Boundaries of Discourse in The Merchant of Venice,”in Race, Ethnicity, and Power in the Renaissance. Associated University Presses, 1997. Copyright © 1997 by Associated University Presses. All rights reserved. Reproduced by permission.—Tanner, Tony From “Which is the Merchant Here? And Which the Jew?: The Venice of Shakespeare’s The Merchant of Venice,”in Venetian Views, Venetian Blinds: English Fantasies of Venice. Rodopi, 1999. Copyright © 1999 by Rodopi. All rights reserved. Reproduced by permission.—Tippins, Darryl. From “‘Can you make no use of nothing?&rsquo: Nihilism and Meaning in King Lear and The Madness of King George,”in Performance for a Lifetime. Loyola University New Orleans, 1997. Copyright © 1997 by Loyola University New Orleans. All rights reserved. Reproduced by permission.—Weisberg, Richard H. From “Antonio’s Legalistic Cruelty: Interdisciplinarity and The Merchant of Venice,”in Un-Disciplining Literature: Literature, Law, and Culture. Peter Lang, 1999. Copyright © 1999 by Peter Lang. All rights reserved. Reproduced by permission.—Whitworth, Charles. From “Rectifying Shakespeare’s Errors: Romance and Farce in Bardeditry,” in The Comedy of Errors: Critical Essays. Garland Publishing, Inc., 1997. Copyright © 1997 by Garland Publishing, Inc. All rights reserved. Reproduced by permission of Routledge, Inc., part of The Taylor & Francis Group, and the author.—Yaffe, Martin D. From “The Mistreatment of Shakespeare’s Shylock,” in Shylock and the Jewish Question. Johns Hopkins University Press, 1997. Copyright © 1997 by Johns Hopkins University Press. All rights reserved. Reproduced by permission.—Zuckert, Michael. From “The New Medea: On Portia’s Comic Triumph in The Merchant of Venice,”in Shakespeare’s Political Pageant: Essays in Literature and Politics. Rowman & Littleﬁeld, 1996. Copyright © 1996 by Rowman & Littleﬁeld. All rights reserved. Reproduced by permission.

PHOTOGRAPHS APPEARING IN SC, VOLUME 66, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Act II, scene ii of William Shakespeare’s The Comedy of Errors, photograph. The Folger Shakespeare Library. Reproduced by permission of The Folger Shakespeare Library.—Act IV, scene iv of William Shakespeare’s The Comedy of Errors, photograph. The Folger Shakespeare Library. Reproduced by permission of The Folger Shakespeare Library.—Act V, scene i of William Shakespeare’s The Comedy of Errors, photograph. The Folger Shakespeare Library. Reproduced by permission of The Folger Shakespeare Library.—Brook, Pamela as Marina, Pat Bentley-Fisher, Trudy Cameron, and Joan Gaskill as Whores, and Amelia Hall as Bawd in Act IV, scene ii of the 1973 Stratford Festival production of William Shakespeare’s Pericles, directed by Jean Gascon, photograph by Robert C. Ragsdale. Reproduced by permission of the Stratford Festival Archives.—Canada, Ron as Iago and Patrick Stewart as Othello in a 1997 theatrical production of William Shakespeare’s Othello, photograph. AP/Wide World Photos. Reproduced by permission.—Forrest, Edwin as King Lear, photograph. The Library of Congress.—Garrick, David as Hamlet, photograph. The Library of Congress.—Gielgud, John as Shylock in a production of William Shakespeare’s The Merchant of Venice, photograph. Hulton/Archive Photos. Reproduced by permission.—Henry, Martha as Thaisa, Nicholas Pennell as Pericles, and Edward Atienza as Gower in Act II, scene iii of the 1974 Stratford Festival production of William Shakespeare’s Pericles, directed by Jean Gascon, photograph by Robert C. Ragsdale. Reproduced by permission of the Stratford Festival Archives.—O’Neill, Raymond as Antiochus Lord, Nicholas Pennell as Pericles, Joan Gaskell as Antiochus Woman, Nachum Buchman as Antioch, Judith Cockman as Antiochus Woman, and Jack Wetherall as Antiochus Lord in Act I, scene i of the 1973 Stratford Festival production of William Shakespeare’s Pericles, directed by Jean Gascon, photograph by Robert C. Ragsdale. Reproduced by permission of the Stratford Festival Archives.—Powys, Thomas as Cerimon, Scot Denton as Fisherman, Martha Henry as Thaisa, and Richard Monette and Daniel Buccos as Fishermen in Act III, scene ii of the 1973 Stratford Festival production of William Shakespeare’s Pericles, directed by Jean Gascon, photograph by Robert C. Ragsdale. Reproduced by permission of the Stratford Festival Archives.—Scene from William Shakespeare’s The Comedy of Errors, photgraph. Copyright © Robbie Jack/Corbis. Reproduced by permission.—Scenes from William Shakespeare’s Henry V, photograph. The University of Michigan Library. Reproduced by permission.—Scene from William Shakespeare’s Merchant of Venice, photograph. The University of Michigan Library. Reproduced by permission.—Scenes from William Shakespeare’s The Merchant of Venice, photograph. The University of Michigan Library. Reproduced by permission.—Wreford, Roger as Shylock, photograph. Getty Images. Reproduced by permission.

Literary Criticism Series Advisory Board

The members of the Gale Group 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.

Dr. Toby Burrows Mary Jane Marden

Principal Librarian Literature and General Reference Librarian

The Scholars’ Centre St. Petersburg Junior 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 Fiction Department Manager University of Tennessee Seattle Public Library