Romeo and Juliet (Vol. 87) | Copyright Page

ISSN 0883-9123

Volume 87

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

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LIBRARY OF CONGRESS CATALOG CARD NUMBER 86-645085

ISBN 0-7876-8825-8
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 87, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:

    Ariel: A Review of International English Literature, v. 10, April, 1979 for “Through a Looking Glass Darkly: Judging Hazards in The Merchant of Venice” by Russell Astley. Copyright © 1979 The Board of Governors, The University of Calgary. Reproduced by permission of the publisher and the author.—Bucknell Review, v. 25, 1980. Copyright © 1980 by Associated University Presses, Inc. Reproduced by permission.—Cambridge Quarterly, v. 31, 2002 for “The Taming of the Shrew: Making Fun of Katherine” by Ann Blake. Reproduced by permission of the publisher and the author.—Colby Quarterly, v. 26, June, 1990. Reproduced by permission.—Dalhousie Review, v. 48, spring, 1968. Reproduced by permission.—ELH, v. 52, spring, 1985. Reproduced by permission.—English Literary Renaissance, v. 30, spring, 2000. Copyright © 2000 by English Literary Renaissance. Reproduced by permission of the editors.—Financial Times, August 23, 2003. Reproduced by permission.—Los Angeles Times, March 26, 2001; July 9, 2001. Copyright © 2001 by Los Angeles Times. Both reproduced by permission. / January 10, 2002 for “Romeo Becomes a Bawdy Comedy” by Jana Monji. Copyright © 2002 by Los Angeles Times. Reproduced by permission of the author.—Medieval and Renaissance Drama in England, v. 14. 2001. Copyright © 2001 by Rosemont Publishing & Printing Corp. All rights reserved. Reproduced by permission.—Modern Language Quarterly, v. 28, March, 1967. Copyright © 1967, the University of Washington. All rights reserved. Used by permission of the publisher.—New Statesman, v. 131, November 18, 2002. Copyright © 2002 New Statesman, Ltd. Reproduced by permission.—New York Times, August 17, 2001; August 16, 2002; September 26, 2002; November 21, 2003. Copyright © 2001, 2002, 2003 by The New York Times Company. All reproduced by permission.—PMLA, v. 107, May, 1992. Copyright © 1992 by the Modern Language Association of America. Reproduced by permission of the Modern Language Association of America.—Shakespeare Bulletin, v. 20, winter, 2002; v. 21, spring-summer, 2003; v. 21, fall, 2003. All reproduced by permission.—Shakespeare Quarterly, v. 22, winter, 1971. Copyright © The Johns Hopkins University Press. Reproduced by permission. / v. 52, fall, 2001. Copyright © 2001 by the Folger Shakespeare Library. All rights reserved. Reproduced by permission.—Shakespeare Studies, v. 3, 1967. Copyright © The Center for Shakespeare Studies, 1968. Reproduced by permission. / v. 29, 2001. Copyright © 2001 by Rosemont Publishing & Printing Corp. All rights reserved. Reproduced by permission.—Shakespeare Survey, v. 49, 1996. Copyright © Cambridge University Press 1996. Reprinted with the permission of Cambridge University Press.—South Atlantic Bulletin, v. 45, January, 1980. Copyright © 1979 by The South Atlantic Modern Language Association. Reproduced by permission.—Spectator, v. 294, January 31, 2004. Copyright © 2004 by Spectator. Reproduced by permission of Spectator.—Studies in English Literature 1500-1900, v. 9, spring, 1969; v. 43, 2003. Copyright © The Johns Hopkins University Press. Both reproduced by permission.—Texas Studies in Literature and Language, v. 18, fall, 1976 for “Bassanio’s Golden Fleece” by Elizabeth S. Sklar. Copyright © 1976 by the University of Texas Press. All rights reserved. Reproduced by permission.—Times Educational Supplement, no. 4538, June 27, 2003; no. 4552, October 3, 2003. Copyright © The Times Supplements Limited 2003. Both reproduced from the Times Educational Supplement by permission.—Upstart Crow, v. 15, 1995. Reproduced by permission.

    COPYRIGHTED MATERIAL IN SC, VOLUME 87, WAS REPRODUCED FROM THE FOLLOWING BOOKS:

    Andrews, John F. From “Falling in Love: The Tragedy of Romeo and Juliet,”in Classical, Renaissance, and Postmodernist Acts of the Imagination: Essays Commemorating O. B. Hardison, Jr. Edited by Arthur F. Kinney. University of Delaware Press, 1996. Copyright © 1996 by Arthur F. Kinney. All rights reserved. Reproduced by permission.—Edelman, Charles. From the Introduction to The Merchant of Venice. Edited by Charles Edelman. Cambridge University Press, 2002. Copyright © Cambridge University Press, 2002. Reprinted with the permission of Cambridge University Press.—

    Hale, John K. From “Does Source Criticism Illuminate the Problems of Interpreting The Merchant as a Soured Comedy?” in The Merchant of Venice: New Critical Essays. Edited by John W. Mahon and Ellen Macleod Mahon. Routledge, 2002. Copyright © 2002 by John W. Mahon and Ellen Macleod Mahon. All rights reserved. Reproduced by permission of the author and Routledge/Taylor & Francis Books, Inc.—Halio, Jay L. From the General Introduction to The Merchant of Venice. Edited by Jay L. Halio. Clarendon Press, 1993 Copyright © Jay L. Halio 1993. All rights reserved. Reproduced by permission of Oxford University Press.—Halio, Jay L. From “The Induction as Clue in The Taming of the Shrew,”in A Certain Text: Close Readings and Textual Studies on Shakespeare and Others in Honor of Thomas Clayton. Edited by Linda Anderson and Janis Lull. University of Delaware Press, 2002. Copyright © 2002 by Rosemont Publishing & Printing Corp. All rights reserved. Reproduced by permission.—Kawachi, Yoshiko. From “The Merchant of Venice and Japanese Culture,” in Japanese Studies in Shakespeare and His Contemporaries. Edited by Yoshiko Kawachi. University of Delaware Press, 1998. Copyright © 1998 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Lerner, Laurence. From “Shakespeare and Love: Romeo & Juliet”in Essays on Shakespeare in Honour of A. A. Ansari. Edited by T. R. Sharma. Shalabh Book House, 1986. Copyright © All rights reserved: T. R. Sharma. Originally published in 1979 in Love and Marriage: Literature and Its Social Context. Reproduced by permission of the author.— Mahood, M. M. From the Introduction to The Merchant of Venice. Edited by M. M. Mahood. Cambridge University Press, 1987. Copyright © Cambridge University Press 1987. Reprinted with the permission of Cambridge University Press.— Miola, Robert S. From “The Play and the Critics,” in 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., and the author.—Moisan, Thomas. From “‘Now Art Thou What Thou Art’: or, Being Sociable in Verona: Teaching Gender and Desire in Romeo and Juliet,”in Approaches to Teaching Shakespeare’s Romeo and Juliet. Edited by Maurice Hunt. The Modern Language Association of America, 2000. Copyright © 2000 by The Modern Language Association of America. All rights reserved. Reproduced by permission of the Modern Language Association of America.—Morris, Brian. From the Introduction to The Taming of the Shrew. Methuen & Co. Ltd., 1981. Editorial matter © 1981 Methuen & Co. Ltd. All rights reserved. Reproduced by permission of the publisher and the Literary Estate of the author.—Newman, Paula and George Walton Williams. From “Paris: The Mirror of Romeo,” in Renaissance Papers 1981. Edited by A. Leigh Deneef and M. Thomas Hester. The Southeastern Renaissance Conference, 1982. All rights reserved. Reproduced by permission.—Riehle, Wolfgang. From Shakespeare, Plautus and the Humanist Tradition. D. S. Brewer, 1990. Copyright © Wolfgang Riehle 1990. All rights reserved. Reproduced by permission.—Schleiner, Winfried. From “Deromanticizing the Shrew: Notes on Teaching Shakespeare in a ‘Women in Literature’ Course,” in Teaching Shakespeare. Edited by Walter Edens, Christopher Durer, Walter Eggers, Duncan Harris, and Keith Hull. Princeton University Press, 1977. Copyright © 1977 by Princeton University Press, 2003 renewed PUP. All rights reserved. Reproduced by permission of Princeton University Press.—Watt, Cedric. From the Introduction to An Excellent Conceited Tragedie of Romeo and Juliet. Edited and introduced by Cedric Watts. Prentice Hall, 1995. Copyright © Cedric Watts, 1995. All rights reserved. Used by permission of Prentice-Hall/A division of Simon & Schuster, Upper Saddle River, NJ.— Whitworth, Charles. From the Introduction to The Comedy of Errors. Edited by Charles Whitworth. Oxford University Press, 2002. Copyright © Charles Whitworth 2002. All rights reserved. Reproduced by permission of Oxford University Press.

    PHOTOGRAPHS APPEARING IN SC, VOLUME 87, WERE RECEIVED FROM THE FOLLOWING SOURCES:

    The Comedy of Errors, Act IV, scene iv. Antipholus of Ephesus, Dromio of Ephesus, Adriana, Luciana, Courtesan, Dr. Pinch, Officers, and others.—The Comedy of Errors, Caroline Loncq as Luciana and Estelle Kohler as Adriana in a 1999 Royal Shakespeare Company production of The Comedy of Errors at the Royal Shakespeare Theatre, Stratford-upon-Avon, photograph. Copyright © Donald Cooper/Photostage. Reproduced by permission.—The Comedy of Errors, Ian Hughes as Dromio of Syracuse and David Tennant as Antipholus of Syracuse in a 2000 Royal Shakespeare Company production of The Comedy of Errors at the Royal Shakespeare Theatre, Stratford-upon-Avon, photograph. Copyright © Donald Cooper/ Photostage. Reproduced by permission.—The Comedy of Errors, Ian Hughes as Dromio of Syracuse, David Tennant as Antipholus of Syracuse, Anthony Howell as Antipholus of Ephesus, and Tom Smith as Dromio of Ephesus in a 2000 Royal Shakespeare Company production of The Comedy of Errors at the Royal Shakespeare Theatre, Stratford-upon-Avon, photograph. Copyright © Donald Cooper/Photostage. Reproduced by permission.—The Merchant of Venice, Act II, scene

    viii. The Rialto at Venice, by G. F. Sargent (artist) and E. Radclyffe (engraver). Special Collections Library, University of Michigan. Reproduced by permission.—The Merchant of Venice, Act III, scene ii. Gratiano, Nerissa, Portia, and Bassanio, by H. Fradelle (artist) and H. Engleheart (engraver). Special Collections Library, University of Michigan. Reproduced by permission.—The Merchant of Venice, Act III, scene ii. Portia, Bassanio, Gratiano, Nerissa, and others, by Frederick Barth (artist). Special Collections Library, University of Michigan. Reproduced by permission.—The Merchant of Venice, Act III, scene ii. Portia, Bassanio, Lorenzo, Jessica, Salerio, Nerissa, and Gratiano, by W. Hamilton (artist) and J. Heath (engraver). Special Collections Library, University of Michigan. Reproduced by permission.—The Merchant of Venice, Act IV, scene i.

    Nerissa, Portia, Shylock, Gratiano, Antonio, Bassanio, and the Duke of Venice, by A. Schmitz (artist). Special Collections Library, University of Michigan. Reproduced by permission.—The Merchant of Venice, Act IV, scene i. Shylock and Portia, by J. D. Watson (artist) and C. W. Sharp (engraver). Special Collections Library, University of Michigan. Reproduced by permission.—The Merchant of Venice, Act V, scene i. Lorenzo and Jessica, by William Hodges (artist) and John Browne (engraver). Special Collections Library, University of Michigan. Reproduced by permission.—Romeo and Juliet, Act II, scene ii. Romeo and Juliet, by H. Hofmann (artist) and G. Goldberg (engraver). Special Collections Library, University of Michigan. Reproduced by permission.—Romeo and Juliet, Act II, scene ii. Romeo and Juliet, engraving.—Romeo and Juliet. Olivia Hussey as Juliet, Leonard Whiting as Romeo, and Milo O’Shea as Friar Laurence in Franco Zeffirelli’s 1968 film version Romeo and Juliet, photograph. Paramount/The Kobal Collection. Reproduced by permission.—Romeo and Juliet. John Barrymore as Mercutio and Basil Rathbone as Tybalt in George Cukor’s 1936 film version of Romeo and Juliet, photograph. MGM/The Kobal Collection. Reproduced by permission.—Romeo and Juliet, Title page of the Second Quarto (1599).—The Taming of the Shrew, Induction, scene i. Christopher Sly and the Hostess, by I. Nash (artist). Special Collections Library, University of Michigan. Reproduced by permission.—The Taming of the Shrew, Act IV, scene i. Servants, Petruchio, and Katherina, by Fritz Schwoerer (artist) and G. Goldberg (engraver). Special Collections Library, University of Michigan. Reproduced by permission.—The Taming of the Shrew, Act IV, scene i. Servants, Petruchio, and Katherina. Frontispiece to the Hanmer edition by Francis Hayman, 1744. By permission of The Folger Shakespeare Library.—The Taming of the Shrew, Act IV, scene ii. Pendant, Lucentio, Tranio, Bianca, and Hortensio.

    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

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