Soliloquies | Copyright Page

ISSN 0883-9123

Volume 91

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

Data Capture

Francis Monroe, Gwen Tucker

© 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. 91

Indexing Services

Lisa Gellert

Rights and Acquisitions

Margaret Abendroth, Edna Hedblad, William Sampson

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 Dover

Associate Product Manager

Marc Cormier

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 0-7876-8829-0
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 91, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:

    English Language Notes, v. 40, September, 2002. Copyright © 2002 Regents of the University of Colorado. All rights reserved. Reproduced by permission.—English Studies, v. 73, May, 1995. Copyright © 1995 by Swets & Zeitlinger. Reproduced by permission.—Essays in Literature, v. 23, fall, 1995. Copyright © 1995 by Western Illinois University. Reproduced by permission.—Financial Times, October 22, 1998; August 3, 1999; January 21, 2000; January 5, 2001; April 16, 2002; April 25, 2002. Copyright © 1998, 1999, 2000, 2001, 2002 Financial Times Information Ltd. All reproduced by permission.—Genre, v. 27, spring-summer, 1994 for “Antiquity and Degeneration: The Representation of Egypt and Shakespeare’s Antony and Cleopatra” by John Michael Archer. Copyright © 1995 by the University of Oklahoma. All rights reserved. Reproduced by permission of Genre, the University of Oklahoma and the author.— Guardian (London, England), April 1, 2000. Copyright Guardian Newspapers Limited 2000. Reproduced by permission of Guardian News Service, LTD.—Hamlet Studies, v. 13, summer and winter, 1991. Reproduced by permission.—Mosaic,v. 10, spring, 1977; v. 35, March, 2002. Copyright © Mosaic 1977, 2002. Acknowledgment of previous publication is herewith made.—New Republic, v. 213, July 17, 1995. Copyright © 1995 the New Republic, Inc. Reproduced by permission of the New Republic.—New Statesman, October 30, 1998; v. 128, January 15, 1999. Copyright © 1998, 1999 New Statesman, Ltd. Both reproduced by permission.—New York Times, June 2, 1995. Copyright © 1995 by The New York Times Company. Reproduced by permission.—Observer, May 27, 2001 for “Spliffs and Butts” by Susannah Clapp. Copyright © 2001 by Guardian Newspapers Ltd. Reproduced by permission of the author.—Philological Quarterly,v.79, spring, 2000 for “Antony’s ‘Secret House of Death’: Suicide and Sovereignty in Antony and Cleopatra” by Jacqueline Vanhoutte. Copyright © 2001 by The University of Iowa. Reproduced by permission of the author.—Quarterly Journal of Speech, v. 69, May, 1983 for “Soliloquy as Self-Disclosure” by Lawrence W. Hugenberg, Jr. and Mark J. Schaefermeyer. Copyright © 1983 by the Speech Communication Association. Reproduced by permission of the Taylor & Francis Ltd., http://www.tandf.co.uk/journals, and the respective authors.—Renaissance Drama, v. 30, 2001. Copyright © 2001 by Northwestern University Press. All rights reserved. Reproduced by permission.—South Atlantic Quarterly, v. 64, winter, 1965. Copyright © 1965 by Duke University Press. All rights reserved. Used by permission of the publisher.—Studies in English Literature 1500-1900, v. 42, spring, 2002; v. 44, spring, 2004. Copyright © William Marsh Rice University 2002, 2004. All rights reserved. Both reproduced by permission of the Johns Hopkins University Press.—Times Literary Supplement, June 16, 1995; August 6, 1999; May 12, 2000; June 8, 2001; June 13, 2003. Copyright © The Times Supplements Limited, 1995, 1999, 2000, 2001, 2003. All reproduced by permission.—University of Toronto Quarterly, v. 65, fall, 1996. Copyright © University of Toronto Press Incorporated 1996. All rights reserved. Reproduced by permission.—Upstart Crow, v. 5, fall, 1984; v. 7, 1987. Copyright © 1984, 1987 Department of English, The University of Tennessee at Martin. All rights reserved. Both reproduced by permission. / v. 20, 2000. Copyright © 2000 by Clemson University. All rights reserved. Reproduced by permission.—Variety, v. 391, August 4, 2003. Copyright © 2003 Variety Magazine, owned and published by Cahners Business Information, a division of Reed Elsevier, Inc. All rights reserved. Reproduced by permission.

    COPYRIGHTED MATERIAL IN SC, VOLUME 91, WAS REPRODUCED FROM THE FOLLOWING BOOKS:

    Alfar, Cristina León. From Fantasies of Female Evil: The Dynamics of Gender and Power in Shakespearean Tragedy. University of Delaware Press, 2003. Copyright © 2003 by Rosemont Publishing & Printing Corp. All rights reserved. Reproduced by permission.—Berry, Ralph. From “Hamlet and the Audience: The Dynamics of a Relationship,” in Shakespeare and the Sense of Performance. Edited by Marvin and Ruth Thompson. University of Delaware Press, 1989.

    Copyright © 1989 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Berry, Ralph. From Tragic Instance: The Sequence of Shakespeare’s Tragedies. University of Delaware Press, 1999. Copyright © 1999 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Bloom, Allan. From “Richard II,” in Shakespeare as Political Thinker. Edited by John Alvis and Thomas G. West. Carolina Academic Press, 1981. Copyright © 1981 John Alvis and Thomas G. West. All rights reserved. Reproduced by permission.—Bowers, Fredson. From “Hamlet’s Fifth Soliloquy, 3.2.406-17,” in Essays on Shakespeare and Elizabethan Drama: In Honor of Hardin Craig. Edited by Richard Hosley. University of Missouri Press, 1962. Copyright © 1962 by the Curators of the University of Missouri. Renewed 1990 by Richard Hosley. Reproduced by permission of the University of Missouri Press.—Charney, Maurice. From “Asides, Soliloquies, and Offstage Speeches in Hamlet: Implications for Staging,” in Shakespeare and the Sense of Performance. Edited by Marvin and Ruth Thompson. University of Delaware Press, 1989. Copyright © 1989 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Estok, Simon C. From “Teaching the Environment of The Winter’s Tale: Ecocritical Theory and Pedagogy for Shakespeare,” in Shakespeare Matters: History, Teaching, Performance. Edited by Lloyd Davis. University of Delaware Press, 2003. Copyright © 2003 by Rosemont Publishing & Printing Corp. All rights reserved. Reproduced by permission.—Hirsh, James. From Shakespeare and the History of Soliloquies. Fairleigh Dickinson University Press, 2003. Copyright © 2003 by Rosemont Publishing and Printing Corp. Reproduced by permission.—Hussey, S. S. From The Literary Language of Shakespeare. Longman, 1982. Copyright © Longman Group Limited 1982. Reproduced by permission of Pearson Education.—Lindley, Arthur. From “Antony, Cleopatra, the Market, and the End(s) of History,” in Shakespeare Matters: History, Teaching, Performance. Edited by Lloyd Davis. University of Delaware Press, 2003. Copyright © 2003 by Rosemont Publishing & Printing. All rights reserved. Reproduced by permission.—Loomba, Ania. From Shakespeare, Race, and Colonialism. Oxford University Press, 2002. Copyright © Ania Loomba 2002. All rights reserved. Reproduced by permission of Oxford University Press.— Maher, Mary Z. From Modern Hamlets and Their Soliloquies. University of Iowa Press, 1992. Copyright © 1992 by the University of Iowa Press. All rights reserved. Reproduced by permission.—Mayer, Jean-Christophe. From “Shakespeare’s Religious Background Revisited: Richard II in a New Context,” in Shakespeare and the Culture of Christianity in Early Modern England. Edited by Dennis Taylor and David Beauregard. Fordham University Press, 2003. Copyright © 2003 by Fordham University Press. All rights reserved. Reproduced by permission.—Potter, Nicholas. From “‘Like to a tenement or pelting farm’—Richard II and the Idea of the Nation,” in Shakespeare in the New Europe. Edited by Michael Hattaway, Boika Sokolova, and Derek Roper. Sheffield Academic Press, 1994. Copyright © 1994 Sheffield Academic Press. Reproduced by permission of The Continuum International Publishing Group.—Richards, Jennifer. From “Social Decorum in The Winter’s Tale,”in Shakespeare’s Late Plays: New Readings. Edited by Jennifer Richards and James Knowles. Edinburgh University Press, 1999. Copyright © Edinburgh University Press, 1999. Copyright in the individual chapters is retained by the authors. Reproduced by permission of Edinburgh University Press, www.eup.ed.ac.uk.—Ruiter, David. From Shakespeare’s Festive History: Feasting, Festivity, Fasting, and Lent in the Second Henriad. Ashgate, 2003. Copyright © David Ruiter 2003. All rights reserved. Reproduced by permission.—Sokol, B. J. From Art and Illusion in The Winter’s Tale. Manchester University Press, 1994. Reproduced by permission of the author.—Spiekerman, Tim. From Shakespeare’s Political Realism: The English History Plays. State University of New York Press, 2001. Copyright © 2001 State University of New York. All rights reserved. Reproduced by permission of the State University of New York Press.—Turner, Frederick. From “The Invention of Value: Shakespeare’s Fatal Cleopatra,” in Fortiter, Feliciter, Fideliter: Centennial Lectures of the Graduate School of the University of Southwestern Louisiana. Edited by Lewis Pyenson. Graduate School, University of Southwestern Louisiana, 1999. Copyright © 1999, Graduate School, University of Southwestern Louisiana. Reproduced by permission of the editor, Dr. Lewis Pyenson.

    PHOTOGRAPHS APPEARING IN SC, VOLUME 91, WERE RECEIVED FROM THE FOLLOWING SOURCES:

    Antony and Cleopatra, Act IV, scene viii. Antony and Cleopatra, photograph. Copyright © Bettmann/Corbis.—Antony and Cleopatra, Act V, scene ii. Cleopatra, Charmian, and Iras, modeled by the Hon. Shakespeare Collection, Special Collections Library, University of Michigan.—Antony and Cleopatra. Fitzgerald, Helen as Iras, Judy Dench as Cleopatra, Miranda Foster as Charmian, and Iain Ormsby-Knox as Mardian in the 1987 production of Antony and Cleopatra, Olivier Theatre, National Theatre, London, 1987, photograph. Copyright © Donald Cooper/Photostage.—Antony and Cleopatra. Mirren, Helen as Cleopatra and Alan Rickman as Antony in the 1998 production of Antony and Cleopatra, Royal National Theatre, London, October, 1998, photograph. Copyright © Robbie Jack/Corbis.—Hamlet. Barrymore, John as Hamlet in a scene from Hamlet, photograph, ca. 1925. The Kobal Collection.—Hamlet. Gielgud, John as Hamlet in a 1939 production of Hamlet at the Lyceum Theatre, London, photograph. Copyright © Hulton-Deutsch Collection/Corbis.—Macbeth. O’Toole, Peter as Macbeth in a 1980 production of Macbeth at the Old Vic Theatre, London, photograph. Copyright © Hulton-Deutsch Collection/Corbis.—Othello. Fishburne, Laurence as Othello in a scene from the 1995 film adaptation Othello, directed by Oliver Parker, photograph. Castle Rock/Dakota Films/The Kobal Collection.—Richard II, Act IV, scene i. King Richard, Bolingbroke, York, Aumerle, Northumberland, Percy, Fitzwater, Surry, Bishop of Carlisle, Abbot of Westminster, Herald, and Bagot in the Parliament House, Shakespeare Collection, Special Collections Library, University of Michigan.—Richard II. Engraving from Galerie des Personnage de Shakespeare, 1844, facing page 41, photograph. Special Collections Library, University of Michigan. Reproduced by permission.—Richard II. Engraving from Galerie des Personnage de Shakespeare, 1844, facing page 43, photograph. Special Collections Library, University of Michigan. Reproduced by permission.—Richard III. Richard Mansfield as Richard III, Globe Theatre, New York, 1889, Carte de visite photograph by London Stereoscopic Co. Prints and Photographs Division, Library of Congress.—The Winter’s Tale, Act III, scene iii. Old Shepard and baby Perdita in a desert country near the sea. Illustration by Harold Copping from Tales from Shakespeare, by Charles and Mary Lamb (Boston, 1909). General Collections, Library of Congress.—The Winter’s Tale, Act III, scene iii. Old Shepard, Clown, and baby Perdita Bohemia in a desert country near the sea. Frontispiece illustration by Eleanor Fortescue-Brickdale, photograph. General Collections, Library of Congress.—The Winter’s Tale, Act IV, scene iv. Perdita standing in a field of grass with sheep at the Shepherd’s cottage. Illustration by Arthur Rackham, from Tales from Shakespeare, by Charles and Mary Lamb (Boston, 1909). Rare Book and Special Collections Division, Library of Congress.—The Winter’s Tale, Act IV, scene iv. Polixenes, Perdita, and Florizel, photograph. Special Collections Library, University of Michigan. Reproduced by permission.

    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

    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.