Twelfth Night (Vol. 85) - Copyright Page

ISSN 0883-9123

Volume 85

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

Michelle Lee

Project Editor

Project Editor

Michelle Lee

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Jessica Bomarito, Kathy D. Darrow, Jeffrey W. Hunter, Jelena O. Krstovi, Ellen McGeagh, Joseph Palmisano, Linda Pavlovski, Thomas J. Schoenberg, Lawrence J. Trudeau, Russel Whitaker

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LIBRARY OF CONGRESS CATALOG CARD NUMBER 86-645085

ISBN 0-7876-8823-1
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 85, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:

    AnaChronist, 2000. Copyright © 2000 AnaChronist. Reproduced by permission.—College Literature, v. 23, June, 1996. Copyright © 1996 by West Chester University. Reproduced by permission.—Comitatus: A Journal of Medieval and Renaissance Studies, v. 32, 2001. Copyright © 2001 Regents of the University of California. Reproduced by permission.— Comparative Drama, v. 4, spring, 1970. Copyright © 1970, by the Editors of Comparative Drama. Reproduced by permission.—Critical Quarterly, v. 12, spring, 1970; v. 14, winter, 1972. Copyright © 1970, 1972 Critical Quarterly. Both reproduced by permission of Blackwell Publishers.—English Literary Renaissance, v. 18, winter, 1988. Copyright © 1988 by English Literary Renaissance. Reproduced by permission of the editors.—Essays in Literature, v. 13, fall, 1986. Copyright © 1986 Western Illinois University. Reproduced by permission.—Genre, v. 1, October, 1968 for “The Perspective of Comedy: Shakespeare’s Pointers in Twelfth Night” by Larry S. Champion. Copyright © 1968 Genre. Reproduced by permission of Genre, the University of Oklahoma, and the author.—Hudson Review, v. 55, winter, 2003. Copyright © 2003 by The Hudson Review, Inc. Reproduced by permission.—Journal of English and Germanic Philology, v. 69, January, 1970; v. 72, July, 1973. Copyright © 1970, 1973 by the Board of Trustees of the University of Illinois. Both reproduced by permission of the University of Illinois Press.—Journal of Theatre and Drama, v. 3, 1997. Copyright © 1997 by the Department of Theatre, University of Haifa. Reproduced by permission.—Literature and Theology: An International Journal of Religion, Theory and Culture, v. 12, December, 1998 for “The Genesis of Shakespeare’s Titus Andronicus”by

    E. Eugene Giddens. Copyright © Oxford University Press 1998. Reproduced by permission of the publisher and the author.—Los Angeles Times, November 4, 2002. Copyright © 2002 by Los Angeles Times. Reproduced by permission.— Massachusetts Review, v. 44, fall, 2003. Copyright © 2003. Reproduced from The Massachusetts Review, The Massachusetts Review, Inc. by permission.—Modern Humanities Review, v. 67, October, 1972. Copyright © Modern Humanities Research Association. Reproduced by permission.—Modern Language Review, v. 77, July, 1982. Copyright © Modern Humanities Research Association 1982. Reproduced by permission of the publisher.—Mosaic: A Journal of the Comparative Study of Literature and Ideas, v. 7, spring, 1974. Copyright © Mosaic 1974. Acknowledgment of previous publication is herewith made.—New Republic, v. 227, August, 2002. Copyright © 2002 by The New Republic, Inc. Reproduced by permission of The New Republic.—New York Times, August 18, 1999; January 22, 2003; July 22, 2003. Copyright © 1999, 2003 by The New York Times Company. All reproduced by permission.—Orbis Litterarum, v. 42, 1987. Copyright © 1987 Munksgaard International Publishers, Ltd. Reproduced by permission of Blackwell Publishers.—PMLA, v. 88, March, 1973. Copyright © 1973 by the Modern Language Association of America. Reproduced by permission of the Modern Language Association of America.—Shakespeare Quarterly, v. 17, winter, 1966; v. 24, summer, 1973; v. 53, winter, 2002. Copyright © 1966, 1973, 2002 by The Johns Hopkins University Press. All reproduced by permission.—Shakespeare Studies, v. 29, 2001. Copyright © 2001 Shakespeare Studies. Reproduced by permission.—Shakespeare Survey, v. 55, 2002. Copyright © 2002 Cambridge University Press. Reproduced with the permission of Cambridge University Press.— Spectator, v. 285, December 30, 2000; v. 287, August 4, 2001; v. 288, February 9, 2002. Copyright © 2000, 2001, 2002 by Spectator. All reproduced by permission of Spectator.—Studies in English Literature 1500-1900, v. 13, spring, 1973; v. 15, spring, 1975; v. 22, spring, 1982. Copyright © 1973, 1975, 1982 by The Johns Hopkins University Press. All reproduced by permission.—Theatre Journal, v. 54, January 2002; v. 55, 2003. Copyright © 2002, 2003 by the University and College Theatre Association of the American Theatre Association. Both reproduced by permission of The Johns Hopkins University Press.—Times Literary Supplement, January 5, 2001; July 5, 2002; November, 2002; October, 2003. Copyright © 2001, 2002, 2003 by Times Literary Supplement. All reproduced by permission.—Upstart Crow, v. 17, 1997. Copyright © 1997 Clemson University. All rights reserved. Reproduced by permission.

    COPYRIGHTED MATERIAL IN SC, VOLUME 85, WAS REPRODUCED FROM THE FOLLOWING BOOKS:

    Hartman, Geoffrey H. From “Shakespeare’s Poetical Character in Twelfth Night,”in Shakespeare and the Question of Theory. Edited by Patricia Parker and Geoffrey Hartman. Methuen, 1985. Copyright © 1985 Methuen & Co. Ltd., and Methuen, Inc. Reproduced by permission of the publisher and the author.—Hattaway, Michael. From the Introduction to The Second Part of King Henry VI. Edited by Michael Hattaway. Cambridge University Press, 1991. Copyright © Cambridge University Press 1991. Reproduced with the permission of Cambridge University Press.—Liebler, Naomi C., and Lisa Scancella Shea. From “Shakespeare’s Queen Margaret: Unruly or Unruled?” in Henry VI: Critical Essays. Edited by Thomas A. Pendleton. Routledge, 2001. Copyright © 2001 Thomas A. Pendleton. Reproduced by permission of Routledge/Taylor & Francis Books, Inc., and the authors.—Nichols, Nina da Vinci. From “The Paper Trail to the Throne,” in Henry VI: Critical Essays. Edited by Thomas A. Pendleton. Routledge, 2001. Copyright © 2001 Thomas A. Pendleton. Reproduced by permission of Routledge/Taylor & Francis Books, Inc., and the authors.—Nuttall, A. D. From “Brutus’s Nature and Shakespeare’s Art,” in A New Mimesis. Methuen, 1988. Copyright © 1988 by A. D. Nuttall. All rights reserved. Grateful acknowledgment is made to A. D. Nuttall c/o Writers Representatives LLC, New York, NY, for permission to reprint.—Spevack, Marvin. From the Introduction to Julius Caesar. Edited by Marvin Spevack. Cambridge University Press, 1988. Copyright © Cambridge University Press 1988. Reproduced with the permission of Cambridge University Press.—Warren, Roger. From the Introduction to Henry VI, Part Two. Edited by Roger Warren. Oxford University Press, 2003. Copyright © Roger Warren 2003. All rights reserved. Reproduced by permission of Oxford University Press.— Wilson, Richard. From “Is This a Holiday?’: Shakespeare’s Roman Carnival,” in New Casebooks: Julius Caesar. Edited by Richard Wilson. Palgrave, 2002. Copyright © Richard Wilson 2002. Reproduced with permission of Palgrave Macmillan.

    PHOTOGRAPHS APPEARING IN SC, VOLUME 85, WERE RECEIVED FROM THE FOLLOWING SOURCES:

    Henry VI, Part 1, Act I, scene i. Funeral of Henry V, by G. F. Sargent and W. F. Starling. Special Collections Library, University of Michigan. Reproduced by permission.—Henry VI, Part 1, Act I, scene ii. The Dauphin, Reignier, and Joan de Pucelle, by F. Pecht and Tob. Bauer. Special Collections Library, University of Michigan. Reproduced by permission.— Henry VI, Part 2, Act III, scene iii. The death of Cardinal Beaufort. Copyright © Historical Picture Archive/Corbis. Reproduced by permission.—Henry VI, Part 3, Act II, scene vi. Clifford, Edward, George, Richard, Montague, Warwick, and soldiers, illustration. Reproduced by permission of The Folger Shakespeare Library.—Julius Caesar, Act I, scene ii. Brutus, Cassius, Mark Antony, Julius Caesar, and attendants, by Max Adamo and J. Deinninger. Special Collections Library, University of Michigan. Reproduced by permission.—Julius Caesar, Act I, scene ii. Robert Stephens as Julius Caesar and Owen Teale as Mark Antony in the 1991 Royal Shakespeare Company production of Julius Caesar directed by Steven Pimlott at the Royal Shakespeare Theatre in Stratford-upon-Avon, photograph by Donald Cooper. Copyright © Donald Cooper/Photostage. Reproduced by permission.—Julius Caesar, Act III, scene i. David Bradley as Cassius (second left) and Jonathan Hyde as Marcus Brutus (center) in the 1991 Royal Shakespeare Company production of Julius Caesar directed by Steven Pimlott at the Royal Shakespeare Theatre in Stratford-upon-Avon, photograph by Donald Cooper. Copyright © Donald Cooper/Photostage. Reproduced by permission.—Julius Caesar, Act III, scene ii. Mark Antony, the body of Caesar, and Roman citizens, by A. Zick. Special Collections Library, University of Michigan. Reproduced by permission.—Julius Caesar, Act III, scene ii. Mark Antony, the body of Caesar, and Roman citizens, by Heinrich Spiess (artist) and A. Krausse (engraver). Special Collections Library, University of Michigan. Reproduced by permission.—Titus Andronicus, Act I, scene i. Antony Sher as Titus Andronicus (center) in the 1995 production of Titus Andronicus directed by Gregory Doran at the Market Theatre, photograph by Donald Cooper. Copyright © Donald Cooper/Photostage. Reproduced by permission.—Titus Andronicus, Act III, scene i. Diana Hardcastle as Young Lucius, Paul Shelley as Lucius, Patrick Stewart as Titus Andronicus, and Leonie Mellinger as Lavinia in the 1981 Royal Shakespeare Company production of Titus Andronicus at the Royal Shakespeare Theatre in Stratford-upon-Avon, photograph by Donald Cooper. Copyright © Donald Cooper/Photostage. Reproduced by permission.—Titus Andronicus, Act IV, scene ii. Demetrius, Chiron, Aaron, and nurse holding son of Tamora and Aaron. Reproduced by permission of The Folger Shakespeare Library.—Twelfth Night, Act I, scene v. Olivia and Viola/Cesario, illustration by Norman M. Price. General Collections, Library of Congress.— Twelfth Night, Act II, scene iv. Emily Watson as Viola/Cesario and Mark Strong as Duke Orsino in the 2002 production of Twelfth Night directed by Sam Mendes at the Donmar Warehouse in London, photograph by Donald Cooper. Copyright © Donald Cooper/Photostage. Reproduced by permission.—Twelfth Night, Act III, scene i. Viola/Cesario and Olivia, frontispiece illustration by the Hon. John Collier. General Collections, Library of Congress.—Twelfth Night, Act III, scene

    iv. Sir Andrew Augecheek, Sir Toby Belch, and Viola/Cesario. Reproduced by permission of The Folger Shakespeare Library.—Twelfth Night, Act V, scene i. Rhys Meredith as Sebastian, Mark Rylance as Olivia, Liam Brennan as Orsino, and Michael Brown as Viola/Cesario in the 2002 production of Twelfth Night at Shakespeare’s Globe in London, photograph by Donald Cooper. Copyright © Donald Cooper/Photostage. 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

    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