Abbreviations Titles of Shakespeare's Plays Are Abbreviated As in the SQ

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Abbreviations

Titles of Shakespeare's plays are abbreviated as in the SQ Annotated World Bibliography, except that the name Lear is given in its full form. Periodicals are referred to by standard or perspi- cuous abbreviations, but the following may be noted: Cahiers: Cahiers elisabethains ES: English Studies SS: Shakespeare Survey SSt: Shakespeare Studies

SAS stands for Straiford-upon-Avon Studies; and Sources for Geoffrey Bullough, Narrative and Dramatic Sources of Shakespeare, I-VIII (1957-75).

Modern editions of Shakespeare's plays are referred to as follows: Arden: The Arden Shakespeare, new series inaugurated in 1951. Cam.: The New Shakespeare edited by Sir Arthur Quiller- Couch and John Dover Wilson. New Cam.: The New Cambridge Shakespeare inaugurated in 1984. Oxf.: The Oxford Shakespeare inaugurated in 1982.

INTRODUCTION

I. William Web be, A Discourse of English Poetrie ( 1586), quoted from G. Gregory Smith (ed.), Elizabethan Critical Essays, vol. I (1904) p.249. See also E. K. Chambers, The Mediaeval Stage, vol. II (1903) p.209. 2. Margeson, The Origins of English Tragedy (1967) pp. 82, 72. See also Clifford Leech, Shakespeare's Tragedies (1965) p.27. It has to be emphasised that 'tragedy' did not necessarily mean drama. 216 Notes to pp. 2 -7 217

3. See also Emrys Jones, The Origins of Shakespeare (1977) pp. 51-7. 4. Dessen, Shakespeare and the Late Moral Plays (1986) pp. 134-5. 5. See T. W. Baldwin, Shakspere's Five-Act Structure (1947, 1963), chs. I-XVI; and Smidt, Unconformities in Shakespeare's Early Comedies (1986) pp. 4-7. 6. See M. C. Bradbrook, Themes and Conventions of Elizabethan Tragedy ( 1935, 1966) pp.54-66. 7. Baldwin, op. cit., pp.545, 573. 8. Jones, op. cit., pp.3-20, 85-107. 9. Shakespeare's general familiarity with neoclassical critical doctrine can only be inferred, but there are some clues in his plays. Hamlet sees the play as an art of imitation ('the mirror up to nature'), the Prologue in Tro. speaks of 'beginning in the middle', and the word 'catastrophe' is used several times in a technical sense (LLL IV.i.77, AWW I.ii.57, Lear I.ii.l34). Choruses, prologues and epilogues occur in a group of early plays (Rom., 2H4, H5) and a group of late plays (Per., WT, HB, TNK). 10. Jones thinks Tit. was imitated from Euripides; see Jones, op. cit., pp.90-107. 11. Margeson, op. cit., pp.59-66; quotation from p.59. See also A. R. Braunmuller, 'Early Shakespearian Tragedy and its Contemporary Context' in Shakespearian Tragedy, SAS 20 (1984) p.109. 12. Bevington, 'Shakespeare the Elizabethan Dramatist', in K. Muir and S. Schoenbaum (eds), A New Companion to Shakespeare Studies (1971) p. 130. See also Jones, op. cit., p.4. Bradbrook adds 'Bale's King Johan and perhaps The Troublesome Reigne, Tarlton's play on Henry V, and almost certainly some Peele' to Bevington's list (The Living Monument, 1976, p. 39). 13. See Jones, op. cit., pp. 51-7; Bradbrook, The Living Monument, p.19, and Shakespeare the Craftsman (1969) pp.l3-15. 14. Gorboduc, in 1565, was The Tragedie of Gorboduc; in 1569 was printed A Lamentable Tragedie mixed full of Plesant Mirth, Containing the Life of Cambises [etc.]. Meres lists R2, R3, H4, Jn., Tit., and Rom. as tragedies which may compare with Seneca. 15. Bradbrook, The Living Monument, p. 25. 16. Margeson, op. cit., p. 65. 17. Bevington, op. cit., p. 139. 18. Leech, Shakespeare's Tragedies, pp. 42-3. 19. I refer particularly to Horatio's words to the dying Prince: 'Good night, sweet prince, I And flights of angels sing thee to thy rest.' Rene E. Fortin finds a very ambivalent metaphysical attitude in the last act of Ham.: 'Even the redeemed Hamlet who returns from his sea voyage to speak so confidently of a special providence, of a heaven ordinant in his good fortune, cannot be comfortably accepted by the audience. For it is possible to interpret his quietism 218 Notes to pp. 7-12

as a submission to pagan fatalism rather than the will of God' ('Shakespearean Tragedy and the Problem ofTranscendence', SSt, VII, 1974, p.313. 20. See john Lawlor, The Tragic Sense in Shakespeare (1960) chs. III-IV. 21. Newton, 'Hamlet and Shakespeare's disposition for comedy', Cambr. Qu. 9.1 ( 1979), [39]-55. 22. Bradbrook, Themes and Conventions, pp. 4-5. 23. Ibid., pp. 30, 37, 39. 24. Bradbrook, The Living Monument, pp. 40-3. 25. 'I -like most scholars- believe that Shakespeare revised during the course of composition: which is no more than to say that he did not totally and finally compose his plays in his head before putting pen to paper' (Stanley Wells in a letter to the TLS, 8 Feb. 1985). 26. How conservative I am may be seen by comparing my analyses with the audacious hypothetical reconstructions of two of Shake- speare's plays published by Professor Daniel Amneus: The Mystery of Macbeth (1983) and The Three Othellos (1986). 27. See especially Gary Taylor and Michael Warren (eds), The Division of the Kingdoms: Shakespeare's Two Versions of 'King Lear' (1983). 28. 'Some plays ... survive in a printed text which is unperformable without titivation, which it doubtless received.' (Stanley Wells in TLS, 8 Feb. 1985). 29. Empson, 'Falstaff and Mr. Dover Wilson', Kenyon Rev., XV.2 ( 1953) pp. 220-3. 30. Without necessarily endorsing Charles Lamb's view in 'The Tragedies of Shakspeare' one may to some extent sympathise:

It may seem a paradox, but I cannot help being of opinion that the plays of Shakspeare are less calculated for performance on a stage, than those of almost any other dramatist whatever. Their distinguishing excellence is a reason that they should be so. It is amusing to see that Anthony Brennan, after saying in the Preface to his book on Shakespeare's Dramatic Structures ( 1986) that he 'cannot sympathize with the critic who prefers to confine himself to the ideal productions he can work up in his own mind' (p.viii), goes on in the Introduction to complain of the frequent maltreatment of Shakespeare's plays at the hands of directors and actors who for three hundred years and more 'have undertaken every possible strategy in seeking to avoid failure' (p.3). 31. A typical statement of the latter view by a major Shakespearean is that of Clifford Leech in Shakespeare's Tragedies, pp. 96-8: 'Shakespeare, formerly an actor and still a house-keeper, aimed at and achieved a unity of impression in the theatre: it would not have occurred to him that minor contradictions, unnoticeable in the theatre, had any importance whatever.' Notes to pp. 13-16 219

32. See, for example, Oliver's discussion in the Arden Introduction, pp. xl-xlii. It is hardly possible to tell where Tim. would have been placed in F if it had not been requisitioned out of turn to fill the gap left by the postponement of Tro. As it is, Tim. is coupled illogically with Rom. For it does look as if the editors had a logical pairing in mind when arranging the order of the tragedies; thus: Coriolanus two great Roman military heroes Titus disowned by the state Romeo Troilus } young love Julius Caesar } . "d Macbeth regiCI e Hamlet Lear } Northern chronicles, madness Othello Antony } African lovers

33. Unless, of course, he did complete it and the manuscript disap- peared or was unavailablt to Heminge and Condell. This theory has been suggested by E. A. ]. Honigmann, see p.l97

2 LOPPED LIMBS AND CHOPPED PURPOSES

l. Wilson, 'An Essay in Literary Detection' (1948), pp. xxv, xxxvii. 2. Ibid., pp. xii, li. 3. Evans, Shakespeare's Tragic Practice (1979) pp. l-21. Another severe critic is Larry S. Champion in Shakespeare's Tragic Perspective ( 1976) pp. 8--26. 4. A similar repetition is to be found in the Clown episode in IV.iii. This is admirably dealt with by E. M. W aith in his Oxford edition of Tit. ( 1984) Appendix E. There is also a certain amount of confusion in the speeches of Marcus and Lucius at V.iii.67-ll9. Maxwell notes that 'Alarbus and Mutius are both absent from the seventeeth-century Dutch and German versions which are in some way derived from Titus' (Arden Tit., p.xxix, n.). For a theory connecting interpolations with innovations in playhouse architec- ture, seeJ. C. Adams, 'Shakespeare's Revisions in Titus Andronicus', SQ, XV.2 (1964), [177]-90. 5. See, for example, A. Sommers, ' "Wilderness of Tigers": Structure and Symbolism in Titus Andronicus', EC X.3 (1960) 275--89; Nicholas Brooke, Shakespeare's Early Tragedies (1968, 1973) pp. 24, 44;]. Pearson, 'Romans and Barbarians: The Structure of Irony in 220 Notes to pp. 17-23

Shakespeare's Roman Tragedies', in Shakespearian Tragedy, SAS 20 (1984) pp. [159)-82. 6. Dessen, Shakespeare and the Late Moral Plays ( 1986). 7. See my Unconformities in Shakespeare's Early Comedies ( 1986) pp. 94-108. 8. See Brooke, op. cit., pp. 15--19. 9. The eighteenth-century chapbook which is thought to represent a main source of the play says in ch. VI: 'Andronicus, upon these Calamities, feigned himself distracted, and went raving about the City ... ' See Sources, VI, p. 43. 10. A. L. and M. K. Kistner, however, think 'the intention of portraying Titus mad is clear' and that Shakespeare conforms to a Senecan pattern; see 'The Senecan Background of Despair in The Spanish Tragedy and Titus Andronicus', SSt, VII (1974) pp. 1-9. Champion finds serious fault with the portrayal of Titus. 'The thrust of the play,' he says, 'is toward some final and climactic development in the character of Titus', but

What Shakespeare provides is the very conclusion the structure will not support- the sudden and (from the perspective of the audience) absolutely unanticipated emergence of Titus as a sophisticated revenger outwitting his adversaries at their own game. One is shocked to hear Titus, in an aside well into Act V (indeed 264 lines from the end), suddenly affirm his sanity: I knew them all, though they supposed me mad. (Champion, op. cit., p.l6)

II. See, for example, R. F. Hill, 'The Composition of Titus Andronicus', SS 10 (1957) p. 63, and Evans, op. cit., pp. 12-13. 12. See, for example, Brooke, op. cit., pp. 24,43-4, and Waith, op. cit., p. 64. 13. See A. R. Braunmuller, 'Early Shakespearian Tragedy and its Contemporary Context', in Shakespearian Tragedy, SAS 20, pp. 110-12. 14. The blank verse of Tit. is for the most part very regular, and the majority oflines have masculine endings. The author seems to have carefully avoided rhymes except for occasional rhetorical emphasis. At the climax of the catastrophe, however, there is a series of rhymed couplets, and again some at the nomination of Lucius for emperor. A few scenes end in rhymed couplets. The closing lines of the play in Ql repeat the word 'pity' as a rhyme, but Q2-3 and F add four lines ending in rhymed couplets, and these might well be Shakespeare's, asked to make good some missing lines on the last sheet ofQI. 15. These transfers have been analysed in detail by Evans, op. cit., pp. 4-9. Notes to pp. 23-30 221

16. There is no Alar bus in the chapbook story. 17. See also Champion, op. cit., pp. 20--1. 18. There is also very little preparation for the news of Tamora's delivery, in fact only an indirect remark (IV.ii.29-31) by Aaron just before the news is broken. 19. See also Champion, op. cit., p. 23. 20. The F act division is misleading, as l.i.-II.i forms a continuous scene, which might profitably have been divided into two or three, for example, at l.i.399 and II.i.i. The natural act division would be at Il.ii, following upon the exposition and at the beginning of a new day. 21. 'Aaron is never functionally made a part of the plot' (Champion, op. cit., p. 20). 22. See, for example, Brooke, op. cit., pp. 15-20.

3 STAR-CROSSED AND STUMBLING

1. F. M. Dickey, Not Wisery But Too Well I Shakespeare's Love Tragedies (1957) p.6. 2. Levin, 'Form and Formality in Romeo and juliet', SQ XI.I (1960) p.6. 3. Dickey, op. cit., p.66. See also an excellent essay by Susan Snyder, 'Romeo and Juliet: Comedy into Tragedy', EC XX.4 (1970), [391]-402. Snyder thinks that 'If we divide the play at Mercutio's death, the death that generates all those that follow, it becomes apparent that the play's movement up to this point is essentially comic' (pp. 392-3). Ruth Nevo, on the other hand, finds a tragic mood or undertone throughout the play, see her 'Tragic Form in Romeo and}uliet', SEL, vol. 9 (1969), [241]-58. 4. Levin, op. cit., p.6. 5. A brief critical guide to some of the more extreme and interesting approaches to the problem of Fate and free will in Rom. is provided by G. Blakemore Evans in his Introduction to the New Cam. Rom. (1984) pp. 13-16. 6. Lines 1547-8. Brooke's poem, here and in the following, is quoted from Sources, I, pp. 284-363. 'Brooke's chief contribution [to the story as told by Boaistuau] is his emphasis on the power of the "blyndfold goddesse" "fierce Fortune" throughout the story, providing a perspective which distinctly recalls Chaucer'- Brian Gibbons, Introduction to the ArdenRom., p. 36. 'Fortune's wheel' is frequently invoked in Troilus and Criseyde, and Chaucer has a regular debate on predestination and free will. Shakespeare was also directly indebted to Chaucer, as Gibbons points out, p.37. 7. Forebodings are found in the Prologue, in Romeo's dream and misgivings before the ball (l.iv.49-50, 106-7), in Juliet's fears in 222 Notes to pp. 30-7

the balcony scene (II.ii.ll6-20), in Romeo's and the Friar's unconscious prophecy before the wedding (II.vi.l-15), in Romeo's prophecy of woe to come after the death ofMercutio (III.i.l2l-2), in juliet's vision at the lovers' parting of Romeo dead (III.v.54-6), and in Romeo's dream in Mantua, which is ironically a dream of joyful awakening from death (V.i.6). 8. 'Bad luck, misfortune, sheer inexplicable contingency is a far from negligible source of the suffering and calamity in human life which is the subject of tragedy's mimesis' (Nevo, op. cit., p.[24l]). 9. The word 'suit' in Romeo's prayer (Q2/F, where Ql has 'saile') could mean either love suit or quest. In either case it is natural to suppose that Romeo has Rosaline in mind ( cf. l.ii.l02-3) and hence that 'he' could stand for Cupid. 10. 'Brooke's Preface speaks of unhonest desire, [etc.]; but his poem itself shows a warmer understanding of youth, which keeps the reader half-conscious of the spirit of Chaucer for much of the time' (Gibbons, Arden Introduction, pp. 36-7). 11. Dickey, op. cit., p. 64. 12. See Lawrence Stone, The Family, Sex and Marriage in England 1500--1800, abridged ed. (1979) pp. 40--4; and E. W. Ives, 'Shake- speare and History: Divergencies and Agreements', SS 38 (1985), pp. 28--9. Ives suggests that 'to create an equivalent shock in the changed circumstances of today, producers should cast Juliet as a child of ten' (p.29). 13. See Stone, op. cit., pp. 128--31. 14. Dickey, op. cit., p. 106. 15. Ibid., p. 64. 16. See also john Margeson, The Origins of English Tragedy (1967) pp. 98--101. In Margeson's interpretation, 'The seeming opposition between fortune and providence in the play disappears in [the] final view of a world ruled by fortune and the evil passions of men, but subject in the long run to the laws established by providence' (p.IOO). 17. It would no doubt have been impossible, after two suicides, to suggest in a Christian context that the lovers would meet in Heaven. In Ant., with a Roman ethos, it is a very different matter. 18. Evans, Introduction to the New Cam. Rom. (1984) p. 16. 19. The repetition occurs in Q2 and F, but not in Ql, where the words are given to the Friar. Other duplicate passages are at l.ii.l2/ l.iii.69-71; l.ii.l4-15; l.iii.l00-2/l.v.l2-l3; l.iv.ll-12/35-8; l.iv. 72/77; III.iii.39+ /41 (Q2); III.iii.l47 /166; IV.i.ll 0+-11; V.iii.l02-3; V.iii.l08+++/ll9-20; V.iii.l73-5/l94-6. See also Richard Hosley, 'The Corrupting Influence of the Bad Quarto on the Received Text of Romeo and juliet', SQ IV.l (1953), especially Notes to pp. 38-43 223

pp. 28-32; and George Walton Williams (ed.), The Most Excellent and Lamentable Tragedie of Romeo and Juliet ( 1964) pp. 104-5. 20. It is also possible, of course, that Shakespeare knew in advance how many boy actors he could count on. 21. I have dealt with this subject in 'Repetition, Revision, and Editorial Greed in Shakespeare's Play Texts', Cahiers, 34 (1988) pp. 25--37. 22. See the Arden note to I. iii. 72. 23. It is odd, considering the importance attached to Romeo's discovery that Juliet is a Capulet, that his first love should be related to the Capulets, too (she is Capulet's 'niece', according to l.ii. 70). John C. Meagher explains the absence of Paris at the feast and the absence of the Nurse and Benvolio at the tomb, as well as Paris being described as 'Mercutio's kinsman', by the necessity of doubling parts in a company of thirteen regular actors - see his 'Economy and Recognition: Thirteen Shakespearean Puzzles', SQ 35.1 (1984) pp. 10--13. 24. This reason is stated by Lady Capulet (III.v.l07-9), Paris (IV.i.9--l5), and the Friar (V.iii.236-8). 25. One might flippantly suggest that Capulet likes throwing parties at short notice; cf. his invitations to a feast in l.ii, sent out on the day of the feast itself, though there may be a contradiction in his telling Paris that he has (already?) 'invited many a guest' (l.ii.21). 26. There is no mention of another friar till IV.i.l23, or of the plague till V .ii.l 0. Friar Laurence is apprised of the advanced day of the marriage and is there when Juliet is discovered 'dead', but he makes no effort to send a message about the changed plans to Romeo, unless we may suppose that Friar John is sent, not before the date is changed, as it seems from IV.i.l23-4, but after. 27. Tanselle, 'Time in Romeo and juliet', SQ XV.4 (1964), [348)-61. 28. Ibid., pp. 358-9. 29. l.iv.3-10, 104-5; l.v.ll8. See also Il.iv.94-6. 30. I have examined the subject of dramatic functions divided between several characters in an article in Norwegian: 'Dramatiske funksjoner og menneskelige personer hos Shakespeare', Edda 5, 1978, 261-70. 31. In lines 584-6 of Brooke's poem we are told that the Friar has '(As earst you heard) by skillful lore, found out his [Romeo's) harmes redresse'. The 'as earst you heard' must refer back to what is said of 'the trustiest of [Romeo's) feeres', that is Shakespeare's Benvolio, in lines 101-5 of the poem. See Sources, I, pp. 288, 301. 32. 'He [Mercutio) dominates I.4 particularly with his set piece on Queen Mab, a brilliant tour de force of doubtful dramatic or thematic relevance, and then fades into complete silence at the 224 Notes to pp. 44-51

feast (1.5), surely a strange fate for such a compulsive talker. It is almost as if Shakespeare had planned or even written 1.5 before he thought of creating Mercutio' (G. B. Evans, New Cam. Rom., p. 21). I have found support for my theory concerning the interpolation of the Queen Mab speech in an article by Sidney Thomas, 'The Queen Mab Speech in "Romeo and Juliet"', SS 25 (1972) 73-80. 33. See my Unconformities in Shakespeare's History Plays (1982) pp. 163, 190n9. 34. The general uncertainty with regard to inclusion of the choruses is reflected in the fact that the first chorus is not in F and the second chorus not in Ql. 'One wonders whether at some time the Chorus may not have carried on throughout the play' (A. C. Sprague, Shakespeare and the Audience, 1966, p. l95n).

4 JULIUS CAESAR: THE MAKING OF A DIPTYCH

1. Plutarch, in his life of Caesar, tells us that the very day before his assassination Caesar was supping with Marcus Lepidus (see Sources, V, p.83). Shakespeare may have taken note of this supper. 2. Plutarch's Life of Brutus, see Sources, V, p. 96. 3. One paper is to be laid 'in the praetor's chair', another to be set up 'with wax I Upon old Brutus' statue' (I.iii.l43-6). The assumption must be that Brutus would find them in the morning. 4. EmrysJones, Scenic Form in Shakespeare (1971, 1985) pp. 43-50. 5. Ibid., p. 44. 6. Ibid., pp. 45, 49. 7. Ibid., p. 47. 8. See, for a telling detail, his explanation of Brutus's and Cassius's quick flight from Rome: 'Belike they had some notice of the people, I How I had mov'd them' (III.ii.272-3). 9. See, for example, I.iii.l63 ('it is after midnight'); II.i.l92 ('stricken three'); Il.i.213 ('By the eighth hour'); II.ii.ll4 ('strucken eight'); II.iv.23 ('ninth hour'). 10. Casca's mention of prodigies which happened 'yesterday' comes only 25 lines after the beginning of the third scene and should alert us to the time interval. 11. Brents Stirling, 'julius Caesar in Revision', SQ XIII.2 ( 1962) [187)-205. Stirling based his argument partly on bibliographical evidence and was supported by Fredson Bowers. This part of his evidence, however, has later been rebutted; see Arthur Humphreys's Introduction to the Oxf.JC (1984) p. 79. Humphreys is in other respects in agreement with Stirling. 12. Jones, op. cit., pp. 77, 78. Notes to pp. 52--6 225

13. It seems likely that the Soothsayer in II.iv should have been Artemidorus. See T. S. Dorsch's note to II.iv.28 in the Arden edition. Dorsch, however, thinks the Soothsayer is correct. The poet in IV.iii, though dramatically irrelevant, may represent a bit of ironical self-mockery on the part of the author ('What should the wars do with these jigging fools?') and may be compared to the theatrical images in several places (I.ii.255-8, Il.i.225-7, III.i.lll-14). 14. Humphreys, Introduction to the Oxf. JC, p. 81. 15. Dover Wilson in the Cam. JC (1949, 1980) p. 96. Of course, if Cassius was left out of the scene from the start there would be no practical reason why the actor who played his part should not then double as Caius Ligarius. The two Caiuses would not at any time be on stage together. 16. Humphreys, op. cit., p. 81. 17. Shakespeare has a kind of roll-call in seven places: l.iii.l31-50, II.i.86-96 and 215, Il.ii.ll0--20, II.iii.l-4, III.i.4-30, III.i.l85-9, III.iii.36-8. Shakespeare's eight conspirators (including Ligarius) are the same that Plutarch more casually names in his Life of Brutus, though Plutarch has Tillius Cimber instead of Metellus Cimber and adds a ninth, Labeo. 18. This, of course, strengthens the hypothesis of the composite nature of the orchard scene (II.i). 19. Warren D. Smith, 'The Duplicate Revelation of Portia's Death', SQ IV.2 (1953) [153]-61. Smith maintains that Messala caused 'a brief revival ofhope in the breast of Brutus that Portia lived', but I cannot share his thought-reading. 20. E. K. Chambers, William Shakespeare, I (1930) pp.396-7. 21. See also Humphreys, op. cit., p. 80. 22. There is some confusion in the stage directions and speech headings in the beginning ofV.iv, but I assume with most editors that it is Lucilius who shouts 'And I am Brutus, Marcus Brutus, I!' (line 7). See the Arden note to V.iv. 7-8. 23. Plutarch in his Life of Brutus reports Cassius taking Messala into his confidence. Cassius lets Messala fight in Brutus's wing. But Messala is also called 'Brutus' great friend'. See Sources, V, pp. 119, 120, 131. Lucilius does not appear in Plutarch's account until the impersonating episode. 24. See Humphreys's discussion of this episode in the Oxf. JC, Appendix B, pp. 244-5. Whatever Shakespeare may have meant Pindarus's rank to be in IV.ii, in the scene of Cassius's suicide he thinks of him as a slave. 25. See the note to 5.2.0.1 in the Oxf ]C. 26. The only possible clue I can find in the text is Brutus's mention of having seen the ghost of Caesar 'two several times by night', the 226 Notes to pp. 56--62

second time being 'here in Philippi fields' (V.v.l7-19). There is no scene in which Caesar's ghost appears a second time. On the other hand a night appearance would hardly be in the middle of battle. 27. Humphreys has a relatively full discussion of possible prompt book copy; see the Oxf.JC, pp. 75-7. 28. Evans, Shakespeare's Tragic Practice (1979) p. 66. 29. Ibid., p. 69. 30. It is undeniably rather confusing that Brutus should declare his intention not to let himself be taken alive only seconds after he has spoken of'arming myself with patience I To stay the providence of some high powers I That govern us below' (V.i.10tHJ). Unless there has been textual disturbance here I can only suggest that while Brutus is stating his abhorrence of suicide he is already wavering in his Stoic faith and that Cassius's question, 'Then, if we lose this battle, I You are contented to be led in triumph I Thorough the streets of Rome?' (108--10), finally unsettles him. Critics have found Brutus on the one hand too easily persuaded and on the other hand too stubborn in the conviction of his own rightness. In particular, fault has been found with the logic of his soliloquy in the beginning of Act II in which he decides that Caesar must die. Thus Norman Sanders: 'Brutus misapplies logic wilfully, if unconsciously, and consequently decides on the basis of supposi- tion and possibility, rather than on the proven evidence which points in the opposite direction' (Peng. JC, Introduction p. 25). However, 'the proven evidence' has already shown that Caesar wishes to be crowned and that kings in Rome have become tyrants. Brutus's arguments may be unconvincing to us, but they are hardly illogical. 31. See D. S. Brewer, 'Brutus' Crime: A Footnote to julius Caesar', RES, 111.9 (1952) pp. 51-4. I am not, of course, suggesting that Shakespeare's sympathy is exclusively with Brutus. For a generally unfavourable interpretation of his character see Dorsch's Introduc- tion to the Arden JC, pp. xxxix-xliii. 5 THE MOBLED QUEEN AND THE SWEET PRINCE

I. Schiicking, The Meaning of Hamlet ( 1937, 1966) p. 54. 'Of the feigned madness of Hamlet there appears no adequate cause' (Samuel Johnson). 2. The Spanish Tragedy was played at The Rose throughout 1597, which was the last year ofHenslowe's records. Tit. Q2 was printed in 1600. 3. Schiicking, op. cit., pp. 7, 33, 147. 4. Nosworthy, Shakespeare's Occasional Plays (1965) p. 147. Notes to pp. 63-8 227

5. I have dealt with this subject in an essay, 'De la:rde hos William Shakespeare' ('The Scholar in Shakespeare'), in Edda 54.4, Oslo, 1967, 218-32. 6. Jenkins thinks Ql mistaken in bringing Ophelia on in II.ii: 'since this leaves her a silent presence throughout the reading of Hamlet's letter to her, the cost in dramatic ineptitude is high' (Arden, p.32, n.5). But no doubt Ophelia could be left upstage while Polonius confers with the King. 7. 'Hamlet, who proceeds to comment on what he reads, is deep in Plato; proof of which is afforded by Montaigne, who, acting as Shakespeare's intermediary, quotes from Plato's Apology, in which Socrates philosophizes on the nature of death. These speculations agree strikingly, both in content and phraseology, with Hamlet's train of thought, which is, in fact, an examination of Plato's ideas' (Schiicking, op. cit., pp.ll5-l6). Shakespeare may also have remembered the exclamation of Marlowe's Doctor Faustus in his first soliloquy, 'Bid on kai me on [being and not being] farewell,' a reference to Aristotle's Ana(ytics. 8. See Hibbard's Introduction to the Oxf. Ham., pp. 86-7. See also Philip Edwards's Introduction to the New Cam. Ham., p.27: 'When Hamlet enters ... he is deep in meditation, communing with himself, giving no indication whatsoever that he has been sent for ... his entry belongs to the original scheme prepared for by Polonius's words at 2.2.158.' 9. Schiicking, op. cit., pp. 180-4. 10. Edwards: 'The positioning of "To be or not to be" where it now finds itself is of profound importance for the ultimate meaning of the play. For the "To be or not to be" soliloquy throws everything back into debate.' And the debate, says Edwards, has now become a much wider one than the question of killing the king: 'The life that has to be suffered or evaded is described as a continuous, permanent condition of misfortune, and must therefore include the state of the world even after vengeance has been taken and Claudius killed.' (Introduction to the New Cam. Ham., pp. 27, 47-8.) This view of the universalising of Hamlet's problem is not quite the same as my view of his relapse into despair but may be seen as complementary. 11. Edwards suggests that 'Possibly the players, possibly Shake- speare's own fellows, pushed "To be or not to be" and the nunnery scene back to an earlier position which Shakespeare had originally tried out but later rejected' (p.27). 12. Madariaga, On Hamlet (1964) pp. 74-5. Hamlet, according to Madariaga, is an extreme egocentric, concerned only with himself (pp. 12-13). 'Neither his father killed, nor his mother estranged, 228 Notes to pp. 69-74

nor his crown usurped matter for Hamlet, except as mere tokens of his defeat' (p. 95). 13. If we wish to date the curious love letter which Polonius reads to the King, we may suppose it to have been written after Polonius's admonishment of Ophelia, but before Hamlet realised she was turning him away. 14. If Lamord's visit 'two months since' (IV.vii.80-l0l), Hamlet's wish to fence with Laertes (101-4), and his having been in continual practice since Laertes 'went into France' are to be fitted in anywhere, this must also be in the period between the funeral and the wedding. Laertes was in France at the time of King Hamlet's death and came to Denmark for the coronation of Claudius (l.ii.5l-5), which we may suppose to have shortly preceded the wedding. 15. See, for example, Jenkins's note to l.v.42 in the Arden Ham., and Edwards's note to l.v.46 in the New Cam. edition. In l.ii, that is before the Ghost's revelation, Hamlet seems to have no suspicion of actual adultery: Gertrude merely posted with 'dexterity to ince- stuous sheets' upon the death of her husband (153-7). In Ql the word 'adulterous' is used once by Claudius in III.iii and once by Hamlet in III.iv, but there is no obvious reference to fornication during the late King's lifetime. 16. Quoted by H. H. Furness in the New Variorum Hamlet (1877, 1963) vol. I, pp. 248-9. 17. These are not the lines identified by Seeley and Furnivall (see Variorum, pp. 247-8). Nor have I so far seen them identified by other critics. In principle I share Harold jenkins's view that it does not follow from Hamlet's request to the Player 'that the inserted speech must be identifiable in the Gonzaga play as we have it in III.ii' (Arden note to II.ii.535-6). But in fact it seems clear that the lines are there and recognisable by Hamlet's comments. Robert Smallwood has pointed out to me that my assignment of the inserted speech to the Player Queen implies that in Hamlet's 'You could for a need study a speech', though addressed to the First Player, the word 'You' is generally applicable: not meant for the First Player, but the boy of the troupe. I think this is a fair conclusion and that the general application to the troupe as a whole is also implied in Hamlet's preceding question, 'Can you play The Murder of Gon;::ago?' 18. Conversely, Claudius's guilt is confirmed by his reaction. I am not convinced by Graham Bradshaw's arguments to the contrary; see his review of the Arden Ham. in London Rev. of Books, 2-15 Sep. 1982, p. 13. 19. In his note to this speech Jenkins explains that 'To spill is to destroy (the original sense)'. I prefer the interpretation that he Notes to pp. 75-6 229

rejects, 'that the guilty betray themselves through the fear of being betrayed' (Arden, p. 348). 20. See my article 'Repetition, Revision, and Editorial Greed in Shakespeare's Play Texts', Cahiers 34 (1988), pp. 25-37. The thirty-eight lines added to the closet scene include nine lines in Q2 in which Hamlet reveals his knowledge of Claudius's treacherous intention in sending him to England and his own plan to double- cross his two schoolfellows. It has often been pointed out that there has been neither time nor opportunity for Hamlet to obtain this information and that the Q2 passage disagrees with his report to Horatio in V.ii, in which Hamlet attributes his discovery of the plot against him to providential aid and his own counter-stratagem to momentary inspiration. See also Edwards, p. 15. There is no memory of this nine-line passage in Ql, and since it is omitted in F it seems that Shakespeare realised that he had created an impossi- bility and a contradiction. When he wrote the passage he may have wanted to make it less strange that Hamlet should allow himself tamely to be shipped out of the country (seep. 79). I cannot share Martin Stevens's easy-going acceptance of the passage:

The point is that Shakespeare will build what extra-dramatic background he needs, even at the risk of introducing illogicali- ties, in order to strengthen the dramatic illusion. It is only a modern audience conditioned by the canons of realism that allows itself to be bothered by such circumstances. ('Hamlet and the Pirates: A Critical Reconsideration', SQ XXVI, 3, 1975, p. 278).

21. Schiicking wonders why the Queen in Q2/F does not show any real change after the interview with Hamlet and explains that 'in Shakespeare's play the action was to end in the hero's destruction; and in these circumstances Shakespeare could make no use of any help the Queen might have given to Hamlet' (op. cit., pp. 56--7, 143). In his view, then, it is a matter of dramatic expediency overriding psychology. 22. Although I think Ql in the main represents an earlier conception of the play than do Q2/F, the version behind its imperfect report was not necessarily antecedent in all respects to the Q2/F texts. It seems quite possible that the manuscript which was presumably at the head of all three versions was revised in different ways on separate occasions, and perhaps more extensively in the case of Q2/F than in that of Ql. 23. J. K. Walton finds 'the central point of the dramatic structure when Hamlet and Claudius meet', that is, in the prayer scene. See 'The Structure of "Hamlet" ', SAS 5 ( 1963) p. 75. 230 Notes to pp. 76-82

24. 'The passionate scene in Act III (III.iv) which is, in a way, the central point of the tragedy' (Schiicking, op. cit., p.56; see also p. 142). 'The murder of Polonius may ... be said ... to be of greater import to the play than that of the old King' (ibid. p.55). 25. 'Beyond his skin Hamlet has killed Polonius, a detail of little weight; within his skin, he has killed the King; hence his serenity, for the King deserved his fate' (Madariaga, op. cit., p. 100). 26. See Philip Edwards, 'Shakespeare and Kyd' in Muir, Halio, Palmer (eds), Shakespeare, Man of the Theater (1983) pp. 148--54. See also Edwards's lntrQduction to the New Cam. Ham., pp. 58--9. The Ghost appears in the closet scene both in Ql and Der Bestrafte Brudermord, and one imagines the Ur-Hamlet had it. The fact that ghosts appear in R3 and}C near the end of these plays makes it all the more remarkable that the ghost in Ham. should be absent from the last part of the tragedy. 27. Madariaga, op. cit., pp. 102-3. Cp. George Steevens: 'it is obvious to the most careless spectator .or reader, that he kills the King at last to revenge himself, and not his father' (The Plays of William Shakespeare, 1778, vol. X, p. 412); quoted by Furness in the Variorum Hamlet, 1963 repr., vol II, p. 147. 28. Eliot, 'Hamlet and His Problems', in The Sacred Wood (1920). 29. Thomas Van Laan has examined in some detail the motifofironic reversal that pervades Ham., epitomised in the idea of 'the enginer hoist with his own petard'. See Van Laan, 'Ironic Reversal in Hamlet', SEL 6 (1966) pp. 247-62. It could be added that Hamlet's ultimate fate, death at the hands of Laertes (and, of course, Claudius) is caused by himself. 30. But see p. 61 above. 31. Van Laan, op. cit., p. 247. 32. Mack, 'The World of Hamlet', Yale Rev. XLI (1952) p. 521. 33. Edwards believes 'that Hamlet is primarily a religious play' but does not convincingly explain this belief. He finds it 'noticeable that Hamlet voices very few really Christian sentiments' (p.50). 34. In Ql, Hamlet's own last words are: 'Farewel Horatio, heauen receiue my soule.' 35. See also Hibbard, pp. 25-6, 109. If an omission was intended, the Q2 compositor included more than he should. On the other hand, the F compositor seems to have included too much in Il.ii: Hamlet's discussion with Rosencrantz and Guildenstern about the state of Denmark and the nature of ambition ( 11. 238-69) is not in Q2 (or Ql) but seems to have left traces of excision (see my article referred to in note 20), showing that Shakespeare meant to abandon it. Also, the 'eyrie of children' passage ( 11. 335-68) which is likewise omitted in Q2 (and is not in Ql), was hardly meant to be indefinitely preserved. Notes to pp. 83-9 231

36. Edwards: 'It seems to me the likeliest thing in the world that in creating a hero who is a tangle of conflicting tendencies Shake- speare would have written a lot of tentative material- passages relating to aspects of Hamlet and his mission which needed saying but whose final placing was uncertain' (p.l7). 37. Schiicking, 'The Churchyard-Scene in Shakespeare's Hamlet, v.i. An Afterthought?', RES XI, No. 42 (1935) pp. 129-38. 38. The attempt to resolve this contradiction in psychological terms as a reflection of different attitudes on the part of the speakers has sometimes led to rather strained and extra-dramatic interpreta- tions, as in A. C. Sprague's brief discussion of Ophelia's death in Shakespeare and the Audience ( 1966) pp. 298-300. 39. The character of Horatio will not bear too much scrutiny. He knew King Hamlet and seems to have fought with him (l.i.63-6, l.ii.l86), but if he saw him 'When he th'ambitious Norway combated', which according to the gravedigger was thirty years ago, he must be getting old. Yet he is Hamlet's fellow-student (l.ii.l77). In l.ii we learn that he has come to see King Hamlet's funeral, but in that case why has he not made his presence known before the wedding? And why does Hamlet seem to remember him only imperfectly (I.ii.l6l) if he is such a very special friend (III.ii.63-5, V.ii.346-57)? Hamlet addresses him as 'you' in l.ii and l.v, as 'thou' in III.ii, V.i and in all but one case in V.ii. Horatio has a courtier's inside information (though he calls it 'rumour') of the reasons for the state of alarm in Denmark and is able to enlighten the officers of the guard. But in l.iv it seems implied that he is not Danish, since he inquires about customs in Denmark. And Hamlet has to point out Laertes to him at V.i.217. See also jenkins's Introduction and notes, Arden, pp. 100, 123,447. 40. Jenkins thinks this an accidental omission in Q2 (Arden, p.44), but probably Q2 represents the original state of the text at this point. 41. In the 'nunnery' scene Hamlet first affirms, then denies his love (III.i.llS-19). His love letter, read by Polonius in Il.ii, may be serious, but it is hard to tell. 42. Kempe could have taken the part of the sexton but he left the Chamberlain's Men about the time when they built the Globe. His successor, Robert Armin, was a more sophisticated comedian who was more suited for the roles of court jesters than for those of clowns. Leslie Hotson thinks he may have played the part of Polonius, doubling it with that of the sexton; see Hotson, Shake speare's Motley (1952) p. 104.

6 IRONIC ENGAGEMENTS

1. Palmer: 'Both actions of the play embody common or related 232 Notes to pp. 89-93

themes- Time; identity; valuation; Man's propensity to "see and approve the better I [And] go for the worse" ' (Introduction to the Arden Tro., p. 91). Albert Gerard interprets the mood of the play as one of 'utter despair' and sees a parallel between the love theme and the war theme in that one 'is directed towards the revelation of the bestiality of passion', the other 'of the bestiality of war' ('Meaning and Structure in Troilus and Cressida', ES XL. 3 (I 959) 144-57). 2. See especially l.i-ii, ll.iii.l44-59; IV.v.96-109, 230--59. 3. According to Palmer, 'the "love" plot occupies exactly 33 per cent of the play, whether counting by lines or scenes' (Arden Tro., p. 39). 4. Palmer: 'Few plays contrive such a degree of symmetry, and stylization' (p.41). Palmer particularly instances IV.v, where 'the symmetry of the scene is manifest in the patterning whereby the formal kissing, early on, is balanced against the formal introduc- tions of heroes, near the end' (pp.57-8). 5. Jones, Scenic Form in Shakespeare (1971, 1985) pp. 82-3. 6. One is reminded of the interrupted combat in R2. The dramatic effect may be similar, but the circumstances are very different in the two cases. 7. This is also true of Chaucer's Troilus and Criseyde, but Chaucer does in a kind of epilogue mention Troilus's death at the hands of Achilles. 8. This is apposite, of course, since it is by Achilles that Troilus will be killed - see n. 7 above. Achilles's 'large and portly size' is mentioned by Hector at IV.v.l6l. Achilles is identified in the Riverside and Signet editions of Tro. as the 'great-siz'd coward' of Troilus's last speech.· 9. For a succinct account see the Arden Introduction, p. 3. See also W. W. Greg, The Shakespeare First Folio (1955) pp. 445-9. 10. Dickey, Not Wisery But Too Well (1957) p. 119. The reference is to Campbell's Comical! Satyre and Shakespeare's Troilus and Cressida (1938); see especially pp. 185-7. The Riverside Shakespeare prints Tro. among the Comedies, but this classification does not appear to be supported by the author of the introduction to Tro. in the Riverside edition, Anne Barton. 'Tragic pity and fear may manifest themselves only fitfully in Troilus and Cressida, but they are present all the same,' says Barton. She ultimately eschews all traditional classification: 'Neither tragedy nor satire, celebration nor parody, Troilus and Cressida is innovatory and experimental, yet assured.' (River- side pp. 444-5.) II. Walker, Introduction to the Cam. Tro. (1957, 1979) pp. xviii, xvi. 12. Palmer, op. cit., p. 6; Muir, Introduction to the Oxf. Tro. (1982) p. 8. See also Campbell, op. cit., pp. 191-3. Palmer, following Greg, Notes to pp. 94-7 233

discusses the possibility of an Inns of Court performance 'during the twelve days ofChristmas' (Arden, p. 21). See also his Appendix on 'The Inns of Court Theory', pp. 307-10. Nevill Coghill and Peter Alexander discussed the problem in the columns of the TLS 19 Jan. and 16 Feb. (and further correspondence) 1967. See also Gary Taylor, 'Troilus and Cressida: Bibliography, Performance, and Interpretation', SSt 15 (1982) pp. 99--136. Alice Walker supports Peter Alexander's original suggestion (' Troilus and Cressida, 1609', in The Library, IX, 1929, pp. 267--86) that Tro. 'was written for some festivity at one of the Inns of Court': 'whatever the occasion ... it can never have appealed to anything but a limited audience' (Cam. Tro., pp. xxiv, xxvi). 13. Palmer, however, takes the mention of 'the conceited wooing of Pandarus Prince ofLicia' to relate to Pandarus's activities in III.ii, such as they are (Arden, p. 50). 14. See my Unconformities in Shakespeare's History Play (1982) pp. 111-15. 15. See Sources, VI, pp. 9~7. 16. Ibid., p. 98. 17. Alan C. Dessen in my opinion goes much too far when, in relating Tro. to the 'late moral plays' of the sixteenth century, he minimises the importance of the individual contributions to the debate in the Trojan council and finds that they 'add up to the display of a larger entity ... a composite view of Troy or the kingdom as embodied in the Trojan mind or way of thinking'. Hector's sudden about-face, therefore, need not occasion too much surprise: 'the interpreter aware of late moral play technique can recognize that the focus here is not upon the mind of Hector but upon the mind of Troy'. Shakespeare and the Late Moral Plays (1986) pp. 155-6, 158. 18. 'The only accusation of homosexuality in the play is made by the known slanderer Thersites, and even he says that Patroclus will give anything for "a commodious drab." Furthermore, Patroclus talks about Polyxena not jealously as if she were a rival, but sincerely, out of respect for Achilles. And when he speaks of "your great love to me" and calls Achilles "sweet," he is using the accepted language of male friendship ... Renaissance rhetoric books cited Achilles and Patroclus among the traditional pairs of friends' (Robert Kimbrough, Shakespeare's 'Troilus and Cressida' and Its Setting (1964), p. 147). 19. There are nevertheless one or two hints that we are expected to be aware of Achilles's love affair, especially when Hector offers to uphold in combat that 'He hath a lady wiser, fairer, truer, I Than ever Greek did couple in his arms' and Ulysses at once thinks that this 'Relates in purpose only to Achilles' (l.iii.274-5, 323). 20. Cressida's invitation is not wanted in either place. There is a curious resemblance to Lorenzo's repeated invitations to jessica to 234 Notes to pp. 97-101

go indoors, which also are not wanted, in MV, V.i. 2l. See Palmer, op. cit., pp. 16--17, 49-53, 304--6. 22. The prose passage may have been a false start, but why should Shakespeare have made even a false start in prose? Cressida will speak in prose with Pandarus or her servant, but Troilus never uses it except here. One may even wonder whether the passage may be non-Shakespearean. Other passages where something has gone wrong in transmission and where we find the characteristic signs of unnecessary iteration are at l.iii.352-63 and IV.v.95-l08. Palmer discusses these passages in his Arden Introduction, pp. 5-6, 8-10. 23. After 'Actus Primus. Serena Prima' in F, there are no act divisions in the original texts. Modern act divisions at III.i and IV.i are natural, but Act II might have started on the new day after I.ii; and Act V might have started at day four, except that it would make Act IV extremely long (also I suppose we have to imagine an interval of time from, say, noon to evening between IV.v and V.i). 24. It is worth noting that Shakespeare allows just one night of love to Romeo and Othello as well as Troilus. 25. See also Agamemnon in the F-only passage at IV.v.l64-9. Homer has many truces during the siege of Troy. So has Lydgate. See Tillyard, Shakespeare's Problem Plays (1950, 1970) p. 147. 7 WITH VIOLENT PACE

l. Allen, 'The Two Parts of "Othello" ', SS 21 ( 1968) pp. 13-29. 2. Cinthio's Gli Hecatommithi was first published in Italy in 1565. A French translation appeared in 1584, but no English translation till 1753. See Sources, VII, p. 194. 3. Allen, op. cit., p. 15. I have changed the line references to accord with the Arden edition. With regard to the importance of the Turkish threat in initiating the action there is of course an interesting parallel in the preparation for war at the beginning of Ham. G. R. Hibbard points out that 'the first spectators to see [Oth.] must have thought, up to the beginning of Act II, that they were about to witness an action in which the struggle for the control of the eastern Mediterranean that culminated in the battle of Lepanto would be a leading, if not a central, theme ... More than one spectator in 1604 may well have experienced a sense of disappointment on hearing the announcement "News, lads! our wars are done" (II,i,20)' ("Othello" and the Pattern of Sha- kespearian Tragedy', SS 21 (1968) p. 40). 4. Allen., p. 16. A. C. Bradley tentatively offers this explanation but does not quite dare to suggest a two-part composition. He does suggest that 'possibly, Shakespeare's original plan was to allow some time to elapse after the arrival at Cyprus, but when he Notes to pp. 101-4 235

reached the point he found it troublesome to indicate this lapse in an interesting way ... ' Shakespearean Tragedy (1904, 1957) p. 364. 5. 'Christopher North' Qohn Wilson), Blackwood's Magazine, No- vember 1849, April and May 1850. 6. After Cassio's appeal to Desdemona at the beginning of Act III, there is continuous action, linked and laced, to the end of the play. It is dinner time in the middle of Ill. iii (284-5), but while Othello and Desdemona are presumably at dinner, Emilia and Iago remain on stage. There is no specific indication of time passing between III.iii and III.iv, but in the latter scene Desdemona speaks of having moved Othello on behalf of Cassio and of the loss of her handkerchief as if these things have just occurred. Othello asks for the handkerchief, and she is astonished by his rough speech: there can have been no night in between. Nor is it likely that any length of time intervenes between III.iv and IV.i: Bianca refers to the handkerchief that Cassio gave her 'even now', and I ago continues working on Othello. Othello now says he will kill Desdemona 'to-night' (IV.i.l77, 200-2). Lodovico is entertained that same night- its being a Sunday may be inferred from the mention of Tuesday as the day after 'tomorrow' (III.iii.61 ). 7. This is also the view ofT. G. A. Nelson and Charles Haines; see 'Othello's Unconsummated Marriage', EC XXXIII. 1 (1983) pp. 10-11. 8. Willichius's formula for dramatic structure based on Terentian commentaries stipulated 'a triple division into protasis, epitasis, and catastrophe. This triple division in turn sets up two further internal goals. The first goal is the thing toward which the protasis tends, at the end of the second act. The second is the thing toward which the epitasis tends ... at the end of the fourth act.' T. W. Baldwin, Shakespeare's Five-Act Structure (1947, 1963) p. 239. There are unrecorded intervals between I.ii and I.iii in JC and between and Act II in Ham. (see pp. 46, 61 above). There is of course a first interval of time, an obvious one, for the sea voyage from Venice to Cyprus between the first two acts of Oth. The act divisions in this play were introduced in the First Folio. 9. Actually Roderigo complains on the very first night in Cyprus that his money 'is almost spent' (II.iii.355-6). Are we already involved in 'double time'? 10. See Nelson and Haines (n. 7 above) pp. 5-6; and Rosalind King, '"Then Murder's out of Tune": The Music and Structure of "Othello"', SS 39 (1987) pp. 154-5. 11. See Allen, op. cit., p. 20. 12. See n. 7; the complete essay is on pp. [1]-18. 13. Allen, op. cit., pp. 20-l. Very likely lago's exclamation at Il.iii.25, 'Well, happiness to their sheets!' would be understood by many in 236 Notes to pp. 104-13

Shakespeare's audience as an allusion to the state of the sheets after first intercourse. Compare V.i.36. 14. At V.i.99 it appears that Othello has a surgeon in the garrison, but there is no mention of this man in II .iii. 15. Levin L. Schiicking's theory of Shakespeare's scene-by-scene me- thod of composition sometimes seems peculiarly applicable to Oth. 16. According to Bradley (p.362), '!ago's accusation is uniformly one of adultery', but this is not correct. 17. See also Bradley, pp. 363-5; and A. C. Sprague, Shakespeare and the Audience (1966) pp. 48-9. Clifford Leech thinks 'perhaps we are more likely to see in the time-references in Othello an illustration of what Schiicking has called "episodic intensification" ... So here in Othello Shakespeare did not consider collating his time- references: in each scene he used whichever seemed most appropriate to his immediate purpose.' (Shakespeare's Tragedies (1965), p. 97). 18. Samuel Johnson: 'A little longer interval would increase the probability of the story, though it might violate the rules of the drama' (Note toOth., Act III, Scene xi, that is, III.iv.IOO). 19. Ridley points out that 'Coleridge, rather surprisingly, admits the blackness [of Othello] but insists that he was a Moor in our sense of the word' (Arden Introduction, p. li). Ruth Cowhig argues the importance of seeing Othello as a Negro in 'The Importance of Othello's Race', joum. of Commonwealth Lit., XII.2 (1977), [153]-61. 20. In Jonson's Masque of Blackness, performed at Whitehall on Twelfth Night, 1605, the river god Niger is allowed to contend that black is beautiful, but Aethiopia, the moon goddess, convicts him of error, and the black nymphs, arriving in Britannia, undergo a metamor- phosis. In The Masque of Beautie, performed three years later, they appear as white. 21. Harry Levin remarks that Cinthio 'makes very little of the Moorishness of the Moor, except for warning young maidens never to disobey their parents by running off and marrying strangers. It is Shakespeare who deliberately charges the air with ethnic anta- gonism, and it is Iago who becomes the mouthpiece of racial prejudice' ('Othello and the Motive-Hunters', Centennial Rev. VIII. I (1964), pp. 8-9). 22. Bradley, op. cit., pp. 151-2. 23. I have examined the underlying pattern of type characters in Ham. in my essay 'Politicians, Courtiers, Soldiers, and Scholars', ES 57.4 (1976) pp. 337-47. 24. Desdemona uses the word 'warrior' about herself at III.iv.l49: '(unhandsome warrior that I am)'. 25. Leavis, The Common Pursuit (1952) pp. 141-52. Notes to pp. 114-20 237

26. Most of the critics referred to in this chapter have also discussed !ago's motives. 27. See III.iii.355-6 and my essay, 'Two Aspects of Ambition in Elizabethan Tragedy', ES, L.3 (1969) pp. 235--48. 28. Coleridge speaks of I ago's 'motiveless malignity'. Levin, too, recognises the element of 'pointless malignity' in lago's make-up but tends to see him as a catalyst to Othello's self-destructive complexes. See 'Othello and the Motive-Hunters', pp. 6-11. 29. See Levin, op. cit., pp. 7-8. Barbara de Mendon~a finds a comic structure in Oth. since it 'relies largely on plot for its development', and 'in this comic structure of plot is to be considered Iago's position as meneur-de-jeu, as Zanni, as Harlequin'. See ' "Othello": A Tragedy Built on a Comic Structure', SS 21 (1968) pp. 31-8. 30. In both soliloquies Iago tells us of his suspicion as if it is news to us, which suggests that one of the soliloquies is superfluous. 31. But see Michael Neill, 'Changing Places in "Othello" ', SS 37 (1984) pp. 11-31: 'What is significant about !ago's various self- explanations is not so much their apparent factual inconsistencies as their deadly consistency of tone and attitude ... I take it to be profoundly true of emotions like resentment, envy, and jealousy that they are in some sense their own motive' (p. 121). 32. Allen, op. cit., p. 15. 33. It is true that, in wishing to do away with Cassio, I ago is once more strangely inconsistent in his motives: see V.i.l9-2l! 34. It has been argued by one scholar that Roderigo was introduced into the play at a late stage to take over Iago's role as a suitor to Desdemona, and that this created some awkward problems. See Daniel Amneus, The Three "Othellos" (1986) pp. 47-63. 35. Bradley, op. cit., pp. 365-8; Ridley, op. cit., pp. xxii-xxiii, 199-204. 36. Coghill, Shakespeare's Professional Skills (1964); Honigmann, 'Shake- speare's Revised Plays: King Lear and Othello', Library Sixth Series 4.2 (1982), [142]-73. 37. Shakespeare's marks for cancellation may have been brackets of some kind, and it could be symptomatic that Q mistakenly omits two parenthetical lines included in F: l.ii.65 and l.iii.63. 38. Coghill, op. cit., p. 178. 39. See Ridley, op. cit., p. xxii. I am unconvinced by the arguments for F additions put forward by the New Cam. editor, Norman Sanders, (pp. 202-4) and by Balz Engler in 'How Shakespeare Revised Othello', ES 57.6 (1976) pp. 515-21. 40. See especially Clifford Leech, Shakespeare's Tragedies ( 1965) p. 98. 41. See my 'Repetition, Revision, and Editorial Greed in Shake- speare's Play Texts', Cahiers, 34 (1988) pp. 25-37. 238 Notes to pp. 121-33

42. Williams, 'Flaws in Shakespeare's Stagecraft', World Shakespeare Congress, Berlin, April 1986. 43. IV.i.37-43; V.ii.63, 69-72, 213-18. 44. See also Ridley's suggested explanation, op. cit., note to III.iii. 389-96. 45. The lines hinting at suicide, 267-73, are omitted in Q. 46. The most famous (or notorious?) comment is probably that ofT. S. Eliot in 'Shakespeare and the Stoicism of Seneca' (1927): 'What Othello seems to me to be doing in making this speech is cheering himseljup' (Eliot's italics). 47. On the subject of Othello's egotism see, for example, Levin, op. cit. On that of Desdemona's vanity and immodesty see, for example, Julian C. Rice, 'Desdemona Unpinned: Universal Guilt in Othello', SSt VII (1974) pp. 209-26. 8 THE DIVIDED KINGDOM

l. Q reads 'The oldest haue borne most', which seems preferable, since the plural form more definitely includes Gloucester as well as Lear. 2. Stephen Booth points to the fairy-tale origin of the story of the three daughters, which has a happy ending 'in all tellings previous to Shakespeare's'. But 'the play refuses to fulfill the generic promise inherent in its story.' In Booth's opinion, 'Lear's death is our only way out of a play that has been ready to end since it began.' But to the extent that we experience the ending as unexpected it is probably all the more effective. (See Booth, "King Lear", "Macbeth", Indefinition and Tragedy (1983) p.l7). 3. Kent's speech at IV.iii.50-l, 'I'll bring you to our master Lear, I And leave you to attend him', suggests that this Gentleman may be the same person as the Doctor ofiV.iv and IV.vii, though Q in the latter scene has both a Doctor and a Gentleman. (F has only a Gentleman in both IV.iv and IV.vii and no person distinguished as a Doctor. In the last part of IV.vi, where Lear runs away and is pursued, Q has 'Enter three Gentlemen' and F 'Enter a Gentle- man', but this does not necessarily indicate a difference in staging.) 4. Evans, Shakespeare's Tragic Practice ( 1979) p. 166. 5. Kent is also involved in F's omission of 4i of Gloucester's lines ( 137-41) and one of Regan's (146) in II.ii. F further omits his speech at the end of Ill. vi (95-9). In l.iv, Q gives two speeches to Kent which are Lear's in F (96, 126); in the former case F changes the speech so as to make Lear awkwardly repeat 'Why my boy' (96 and l 05). See also Michael Warren, 'The Diminution of Kent', in Gary Taylor and Michael Warren (eds), The Division of the Kingdoms (1983), [59]-73. Notes to pp. 133-8 239

6. Bennett, 'The Storm Within: the Madness of Lear', SQ XIII.2 (1962) p.l44. 7. See Muir's Introduction to the Arden Lear, pp. 1vi-1 vii; and Robert Linn, 'The Fool in Renaissance Drama', Dissertation Digest, Shakespeare Newsletter, April 1980, p. 14. 8. If the Fool has been long absent it may of course seem inconsistent that Lear should have struck Goneril's gentleman for chiding him

(l.iii.l) 0 9. John C. Meagher: 'Lear knew it was Cordelia as he carried her in; he will know it again shortly, as he points to "her lips"; but this is not the knowledge of genuine recognition, because in between these glimpses he mistakes her for the alternative character whom we recognize to be legitimately associated with the actor in question, even legitimately associated with Cordelia herself because of the way Shakespeare has played both of them out, but directly confusable with Cordelia only, in a supreme and brutal irony, by a Lear who is as full of madness as of disappointed longing.' ('Economy and Recognition: Thirteen Shakespearean Puzzles', SQ 35.1 (1984), p. 18). 10. Evans, op. cit., pp. 177--!d. See also Evans's whole chapter on Lear. There is, though, an indication in Edmund's final soliloquy (V.i.65-9) of his purpose concerning Lear and Cordelia. 11. Evans, op. cit., p. 175. 12. One may wonder whether the words 'Yet Edmund was belov'd' (V.iii.238) are meant to reveal what we might call a sexual inferiority complex as a motive for Edmund's wickedness. 13. See Bradley, Shakespearean Tragedy, pp. 206-13, 380-92. 14. Stephen Booth: 'Both the reentrance and the new indignity Lear suffers are extra; the fact that Lear discovers the new and unexpected wrong offstage and discovers it to us only obliquely heightens our sense that the five-line resumption of his curse on Goneril (290-95) is excessive. It is theatrically excessive.' Booth thinks this and similar excesses are part of the 'great and demons- trable technical skill' which Shakespeare uses 'to stretch his audience out upon the rack of this tough play' (Booth, op. cit., pp. 16-17). 15. I concluded an article on 'The Quarto and the Folio Lear' published in ES XLV.2 (1964) 14~2, with the following remarks on R3 and Lear: 'It seems distinctly possible that they furnish interesting examples of plays which exist in equally authentic variant editions; authentic, that is to say, in so far as they represent differences, accidental or otherwise, in the author's own original papers and transcripts. The author, for instance, may have tried alternative versions of a given phrase, line, or passage; or he may have intended deletions and alterations; or made additions. And all 240 Notes to pp. 139-43

these phenomena may have been variously observed by the! scribes and compositors involved in the transmission of the text- agents who would naturally add their own quota of minor variants, but without corrupting the text to any unusual extent.' The article appears to have gone largely unnoticed, but the theory proposed in the conclusion has since been put forward and enlarged upon by Michael J. Warren, Steven Urkowitz, Gary Taylor, E. A. J. Honigmann et al. 16. It looks as if deletions here and elsewhere perhaps should have included a few more lines, in this case lines 134-6. 17. Warren, 'Quarto and Folio King Lear and the Interpretation of Albany and Edgar' in D. Bevington and J. L. Halio (eds), Shakespeare Pattern of Excelling Nature (1978) pp. 95--107. 18. In l.iii, Goneril complains to Oswald at greater length in Q ( 17-21) than in F. 19. U rkowitz, Shakespeare's Revision of "King Lear" ( 1980) p. 92; see also p. 89. 20. Q reads: 'ther's a great abatement, apeer's ... ' 21. See also l.ii.l04-5, 142-3. 22. Urkowitz, op. cit., p. 93. 23. See Urkowitz, op. cit., p. 110; and Gary Taylor, 'The War in "King Lear"', SS 33 (1980) p. 33. 24. V.iii.22l-2, 250, 322-5. 25. See Leo Kirschbaum, 'Banquo and Edgar: Character or Func- tion?', EC VII.1 (1957), [l]-21; and Larry S. Champion, Shake speare's Tragic Perspective (1976) pp. 166-70. Champion sees Edgar, 'when he assumes the role of Tom o' Bedlam' as 'essentially a dramatic device without individual personality' (pp. 166-7). 26. See Taylor, SS 33, p. 27. Compare, however, the short shrift given to the final battle in R3. 27. Taylor, op. cit., p. 31. Taylor neglects to point out that F in omitting a reference to France in IV.ii also omits a reference to the impending war, and that it further ignores the exchange between Kent and the Gentleman at the end ofiV.vii, in which the decisive importance of the coming battle is stressed. (In this last passage the Q reference to 'the powers of the kingdom' is included in F's omission.) Taylor finds a difference between the Q and F versions with regard to the stage directions at the head of IV.iv, in that F, but not Q, indicates a military occasion. But the dialogue is the same in both versions and shows the occasion to be military and Cordelia to be in command: in line 6 she orders 'a century' to be sent forth in search of her father, and in line 21 a messenger, or orderly, reports to her that 'The British powers are marching hitherward'. Her answer, "Tis known before; our preparation Notes to pp. 144-54 241

stands I In expectation of them', and so on, 1s that of a commander-in-chief. 28. The Arden edition here adopts the Q reading: 'Upon the British party'. 29. The dubious logical connections of Kent's speech in Q may be a sign of hesitation on the author's part. 30. Urkowitz, op. cit., pp. 72-3. 31. One has to imagine a time interval of about a fortnight between Lear's abdication and his first appearance in Goneril's castle, that is, between l.ii and l.iii (see l.iv.292-3, and compare comparable unrecorded time intervals in ]C and Ham.). It may be hard to imagine Edgar hiding from his father for a whole fortnight (between the end of l.ii and the beginning of II.i), but one cannot always deny the use of 'double time'. 32. See Taylor, op. cit., pp. 28-30. 33. But even in Q, Cornwall's servants are not seen to follow up the charitable intentions they express at the end of Act III. 9 DOUBLE, DOUBLE, TOIL AND TROUBLE

1. Evans, Shakespeare's Tragic Practice ( 1979) p. 192. 2. See also J. P. Dyson, 'The Structural Function of the Banquet Scene in Macbeth', SQ XIV.4 (1963), [369]-78. 3. G. B. Harrison: 'Then in the middle of the line, the whole direction of the play and the position of Macbeth and of his wife suddenly change. "What is the night?" he asks, and from that instant Macbeth is a different man. Henceforward he needs neither prompting nor assistance, and he sees no more ghosts. With the change, his wife quite as abruptly fades into insignificance. We may regard this change according to mood as subtle psychology or another instance of inconsistency' (Shakespeare's Trage dies(l95l)p.l99, quoted by Amneus, The Mystery of Macbeth, p.59n.). 4. See also Daniel Amneus, The Mystery of Macbeth ( 1983) p. 52. Amneus adduces the Second Murderer's words in the scene of Banquo's murder, 'Then 'tis bee; the rest, that are within the note of expectation, Alreadie are i'th'Court', as evidence that Macduff 'was not expected to attend' the feast. J. Q. Adams in his 1931 edition of Mac. proposed Holinshed's episode of the building of Dunsinane in explanation of this Macduff problem. 5. The apparently well-informed Lord also reports to Lenox that Macduff has gone to England 'to pray the holy King, upon his aid/To wake Northumberland, and warlike Siward' (III.vi.30-l). We hear no more of Northumberland, however. 242 Notes to pp. 154-61

6. Arden Introduction, p. xxxiv. 7. Macbeth thinks Fleance too young to be dangerous (III.iv.28-30), but he is not too young to be falsely given out as his father's murderer (III.vi.6-7, 20). 8. See Vincent F. Petronella, 'The Role of Macduff in Macbeth', Etudes anglaises XXXII.l (1979), [ll]-19. 9. Harrison, Shakespeare's Tragedies, p. 200; quoted by Amneus, p.5l. 10. There is another indication of an earlier decision or agreement in Macbeth's words on seeing the spectral dagger, 'And such an instrument I was to use' (II.i.43). The question of prior conspiracy is discussed by Bradley (Shakespearean Tragedy, pp. 413-17), Dover Wilson (Cam. Mac., pp. xxxiv-xxxvi) and Muir (Arden Mac., pp. xl vi-xlix). The great amount of irregular verse and mislineation, particularly in the second, third, and fourth scenes of the play are commonly taken as signs of textual disturbance. Also, King Duncan's 'From hence to Inverness' (I.iv.42) is quite unprepared for, and I agree with editors who think something is missing here. ll. So Dover Wilson thought, and suggested a change of plan on Shakespeare's part; see his Cam. Introduction, pp. xxxvii-xxxviii. 12. F divides the lines as follows:

Let euery man be master of his time, Till seuen at Night, to make societie The sweeter welcome: We will keepe our selfe till Supper time alone:

Could the short third line indicate an omission, perhaps of words addressed to the Queen? 13. Lady Macbeth would need the information if, as seems possible, Shakespeare wrote III.ii and iii before he finished III.i. This would also help to explain the Third Murderer, whose appearance in scene iii provides the information that the assassins are the agents of Macbeth, as we already know from scene i. 14. Disturbance may have been mainly in the nature of cancelled lines and half-lines, leaving broken connections and irregular verse, but there may also have been shuffiing and rearrangement. Notice particularly lines 32-3:

Vnsafe the while, that wee must laue Our Honors in these flattering streames,

and Lady Macbeth's two couplets near the beginning of the scene, lines 4-7. 15. See also Evans, op. cit., p. 194. 16. See Bradley, op. cit., pp. 417-19, and Evans, op. cit., pp. 190--l. Notes to pp. 161-6 243

17. Nasworthy defends Shakespeare's authorship but has not much of a following- see 'The Hecate Scenes', RES XXIV (1948) pp. 138-9. See also Muir, Arden Mac., pp. xxxiii-xxxiv. 10 I' THE EAST MY PLEASURE LIES

1. Thomas B. Stroup instances John Dryden, F. S. Boas, and Mark Van Doren ('The Structure of Antony and Cleopatra', SQXV.2, 1964, p. 289). To these may be added Samuel Johnson, A. C. Bradley, Dover Wilson, R. H. Case and, more recently, A. P. Riemer, H. A. Mason, R. L. Nochimson, and M. T. Rozett (see Bibliography). 2. H. A. Mason, Shakespeare's Tragedies of Love (1970) pp. 232, 270. 3. This seems to be the gist of D.]. Enright's argument in his running debate with Mason in Shakespeare and the Students (1970) pp. 69-118. 4. Richard L. Nochimson, 'The End Crowns All: Shakespeare's Deflation of Tragic Possibility in Antony and Cleopatra', English XXVI.2 (1977) 99-127; see especially pp. 103, 122, 127. 5. Bradley, Oxford Lectures on Poetry (1950) p. 285. See also Mason, op. cit., p. 231. 6. Bradley, op. cit., pp. 286-7. See also Mason on off-stage development, op. cit., p. 254. 7. See Jean Fuzier, 'Antony and Cleopatra's Three-Stage Tragic Structu- re', Cahiers 13 ( 1978) p. 70. 8. Mason, op. cit., p. 241. Cp. Bradley, op. cit., p. 284, and Emrys Jones, Introduction to the New Penguin Ant., pp. 11, 20. 9. The episode in Pompey's galley is mentioned by Plutarch but Shakespeare may have found an added interest in it after the Danish King Christian IV's feasting of King James on board his flagship in the Thames in August, 1606. See H. Neville Davies, 'Jacobean Antony and Cleopatra', SS 17 (1985) pp. 123-58. For the relevance of the galley scene in Ant., see Alan C. Dessen, Shakespeare and the Late Moral Plays ( 1986) pp. 149-55. 10. The rivalry of Cleopatra and Octavia gets somewhat more emphasis in Plutarch, and Plutarch speaks of Octavia's generosity in adopting the children of Antony and Cleopatra after their deaths. It is in accordance with Plutarch, however, when Shakespeare lets Caesar command that Cleopatra shall 'be nobly buried', as Plutarch has it (see Sources, V, p. 317). 11. See also Bradley, op. cit., p. 289. 12. The word 'policy' is used twice in Ant., once regretfully by Antony about Fulvia (II.ii.69) and once by Pompey's man Menas about the marriage of Antony and Octavia (ll.vi.ll5). There is also Cleopatra's 'unpolicied', ironically about Caesar (V .ii.307). 13. EmrysJones finds 'two major movements' in Ant., with a break at the end oflll.vi (Peng., pp. 23-4). There is an interesting parallel 244 Notes to pp. 166-172

in Ibsen's Emperor and Galilean, between the largely verbal encounters of Part One and the military encounters of Part Two. 14. Stroup quotes Harold S. Wilson (On the Design of Shakespearean Tragedy, 1957) to the effect that 'the construction of the play, though "expansive and comprehensive- in keeping with the theme- rather than economically concentrated", is nevertheless "most carefully articulated"'- see SQ XV.2 (1964) pp. 289--90. For a contrary view see Jones, Peng., pp. 20, 27, 30. Jones also quotes Samuel Johnson: 'The events, of which the principal are described according to history, are produced without any art of connexion or care of disposition' (p. 25). 15. The apparent contradiction as to Antony's itinerary would be due to a drastic telescoping of Plutarch's account, in which Antony first does sail for Italy and is temporarily reconciled with Caesar before travelling to Syria and there sending for Cleopatra. A great deal which Shakespeare omits happens before the battle of Actium. Shakespeare's audiences might be excused for thinking that everything after Octavia's return to Rome in Ill. vi takes place in Egypt. They would hardly be familiar with place names like Toryne and Pharsalia mentioned in Ill.vii (Actium is not referred to by name in the play) but would be strongly alerted to the difference between Italy and Egypt, Rome and Alexandria, which is of basic importance in the play. 16. Shakespeare first alluded to this passage from Plutarch in III.i of Mac.: 'under him I My Genius is rebuk'd; as, it is said, I Mark Antony's was by Caesar.' But the observation is not dramatised in Mac. any more than in Ant. 17. Nochimson, op. cit., p. 105. Cp. Bertrand Evans: 'what had kept him long in Egypt and will now drive him there again is not his body's lust for Cleopatra but his spirit's terror of Caesar. Cleopatra is but his excuse, the convenient lie behind which to hide the truth from the world' (Shakespeare's Tragic Practice (1979) p. 241). 18. See, for example, Case (Ridley), Arden, pp. xxxvi-xxxix and xlviii-x1ix; and Richard C. Harrier 'Cleopatra's End', SQ XIII.I (1962), [63]-5. Dover Wilson, however, sees Cleopatra as unwavering in her resolve to follow Antony, Cam. Ant., pp. xxxiv-xxxv. 19. Sources, V, p. 315. 20. There has been some speculation as to what Shakespeare intended by including this episode. See an excellent essay by Brents Stirling, 'Cleopatra's Scene with Seleucus: Plutarch, Daniel, and Shake- speare', SQ XV.2 (1964), [299]-311; and Arden, pp. xlv-x1vii. 21. There has been no interval in this scene when she can have made the arrangement for the means of suicide, but in any case we can hardly use the information that she has done so to prove her unwavering purpose retrospectively. Notes to pp. 173-184 245

22. See V.ii.197-204 and Arden, pp. xxxvii-xxxviii. At V.ii.71-5 Cleopatra certainly does not know Dolabella familiarly. Shake- speare enlarged Dolabella's part in comparison with Plutarch but made it puzzling. Could a Dolabella scene have been lost? It seems possible that Caesar's line 'You shall advise me in all for Cleopatra' at V.ii.l36, which seems a strange thing to say to the Queen herself, has dropped out of another context in which it was spoken to Dolabella. 23. Cp. Bradley, op. cit., p. 302. 24. See V.ii.348. 25. Evans, op. cit.: 'Where Antony's practice is his continuous pre- tence of being passion's slave, hers is the unceasing display of artifice by which she masks the genuineness of her passion' (p. 252). 26. Whether he is sincere, or honest with himself, about the reason for making the wars is another matter. Cp. what he tells Octavia in III.iv. 27. Bradley, op. cit., p. 303. 28. An extreme view of the use of'double time' in Ant. is stated by Ray L. Heffner in 'The Messengers in Shakespeare's Antorry and Cleopa tra', ELH 43 (1976) 154-62, see especially pp. 156-7. See also]. M. Maguin, 'A Note on Shakespeare's Handling of Time and Space Data in Antorry and Cleopatra', Cahiers 13 (1978) pp. 61-7. 29. The horror of being humiliated in Rome is first suggested to her (in the play) by the enraged Antony at IV.xii.32-9. He ends with the curse: 'let I Patient Octavia plough thy visage up I With her prepared nails.' 30. See also Ridley's brief discussion in his note to IV.xv.l2, 13, Arden, pp. 195-6. 31. Dickey, Not Wisefy But Too Well (1957) pp. 177-[202]. 32. Stirling, op. cit., p.31l. 11 PRIDE AND POLICY

1. G. R. Hibbard, Peng. Cor., pp. 8-9. 2. Sources V, p. 494. 3. Littlewood, 'Coriolanus' and 'Coriolanus (II)', Cambr. Qu., 11.4 (1966-7) pp. 339-57, and 111.1 (1967-8) pp. 28-50. There is also an excellent analysis of the play by Raymond Powell in his Shakespeare and the Critics' Debate (1980) pp. 126-35. 4. Sources, V, p. 531. See also ]. Palmer, Political Characters of Shakespeare ( 1945) pp. 284-5. 5. Sources, V, pp. 528, 533. 6. I do not agree with Littlewood (op. cit., p. 40) that 'the great cry: "I banish you" ' applies to the patricians as well as to the 246 Notes to pp. 185-93

plebeians. Coriolanus in this speech clearly addresses those whom he calls a 'common cry of curs'. The furthest he goes in more general repudiation is to say: 'Despising I For you the city, thus I turn my back' (III.iii.l33-4}. 7. See IV.i.38-58. For Palmer's view of the scene see op. cit., p. 284. Palmer surprisingly sees the shock of Coriolanus's 'next appearance as a man dedicated to an implacable vengeance' as good theatre, 'a veritable coup de theatre'. See also D. J. Enright, 'Coriolanus: Tragedy or Debate?', EC IV.1 (1954) p.l6. 8. See also Jacqueline Pearson, 'Romans and Barbarians: The Struc- ture of Irony in Shakespeare's Roman Tragedies' in Shakespearian Tragedy, SAS 20 (1984) p. 180. 9. Cp. Volumnia's 'I am in this I Your wife, your son, these senators, the nobles' (III.ii.64-5). 10. Cp. Enright, op. cit., p. 18. 11. Palmer, op. cit., pp. 308-9. 12. Cam. Cor., p. xxviii. 13. Ibid., p. xxxi. 14. Ibid., p. xxvii. Menenius at III.i. 82 mentions Coriolanus's 'choler' as an excuse for his insulting behaviour to the plebeians. 15. See also Il.i.201-2; Il.iii.68; III.i.254-5. 16. Sources, V, pp. 506, 508. 17. V.iii.62-3. See also III.ii.l08; IV.i.27-8; IV.ii.22-8; V.iii.l62-4. See also Brockbank's comment, Arden, p. 33. 18. See, for example, I. R. Browning, 'Coriolanus: Boy ofTears', ECV.l (1955) pp. 18-31. 19. Sources, V, pp. 505, 508. 20. Bradley: 'Often he reminds us of a huge boy' (quoted by Little- wood, op. cit., p. 39). Palmer: 'He is essentially the splendid oaf who has never come to maturity' (op. cit., p. 297}. 21. See especially III.ii.97; V.iii.51-2, 166-8. 22. IV.vii.2-4; V.vi.70, S.D. 23. Coriolanus's revenge: see also IV.iv.23-4; IV.v.l38; IV.vi.68; V.ii.82. 24. Knight, The Imperial Theme (1931, 1954) p. 164. Littlewood, op. cit.: 'Professor Wilson Knight had stopped attending to the play when at the end of his essay he rhapsodised about Love's victory over Pride' (p. 47). See also Enright, op. cit., pp. 18-19. 25. Palmer, op. cit., p.297; see also pp. 279-80, 302. 26. 'What would you have, friend? Whence are you? Here's no place for you: pray, go to the door!' (7-9); 'Whence are you sir?' ( 12); 'I'll have you talked with anon' (18-19}; 'A strange one as ever I looked on. I cannot get him out o'th'house. Prithee call my master to him' (21-3); 'What have you to do here, fellow? Pray you, avoid the house' (24-5); 'Here's no place for you; pray you, avoid' (32-3}; Notes to pp. 194-8 247

'Prithee, tell my master what a strange guest he has here' (35-·6); 'Whence com'st thou?' What wouldst thou?' (54). Even though the intention must be to underscore Coriolanus's strength and stub- bornness, some of these repetitions may seem superfluous. 27. Peng., p. 45. 28. But see Knight (op. cit., p.l8): 'womanhood in its three forms- mother, wife, maiden- save Rome'. 29. Il.i.96-7; V.iii.64-7. 30. Lartius enters Rome in triumph in company with Coriolanus and Cominius according to the S. D. after II.i.l60, and his presence is confirmed by Menenius in lines 185-6: 'You are three I That Rome should dote on.' But cp. I.ix. 73-6; II.ii.38; and particularly III.i.l-20, where Lartius definitely returns to Rome from Corioles. 31. Arden n. to Il.i.l60, S.D.

12 WORK IN PROGRESS: TIMON OF ATHENS

I. Soellner, Timon ofAthens I Shakespeare's Pessimistic Tragedy (1979). G. Wilson Knight has rhapsodic praise for Tim. in The Wheel of Fire (1930, 1960), but is not much interested in textual problems. 2. Honigmann, 'Timon of Athens', SQ XII.l (1961), [3]-20; Brad- brook, The Tragic Pageant of "Timon of Athens" (1966). 3. Honigmann, op. cit., pp. 13, 20. For details concerning the printing of Tim., see Charlton Hinman, The Printing and Proof-Reading of the First Folio of Shakespeare, vol. II (1963) pp. 282, 526. 4. Chambers, William Shakespeare, vol. I ( 1930) pp. 48~; Ellis- Fermor, 'Timon of Athens: An Unfinished Play', RES 18 (1942) 170-83; reprinted in Shakespeare the Dramatist ( 1961). The main nineteenth-century proponents of the unfinished-draft theory seem to have been W. Wendlandt and Hermann Ulrici- see J. C. Maxwell's Introduction to the Cam. Tim., pp. x-xi. 5. Shakespeare the Dramatist, pp. 175-6. 6. Maurice Charney is harder to pin down. After admitting that 'There can be no doubt that the play as it appears in Shakespeare's First Folio of 1623 is unfinished,' he says in the same paragraph: 'It seems to me that Timon is completely finished in conception: its structure makes good sense as a whole, its characters are well adapted to the overall plan, and its style, tone, imagery, and dramatic handling all contribute to a unified imaginative vision' (The Complete Signet Classic Shakespeare ( 1972) p. 1367). 7. Hinman, Introduction to Tim. in the Pelican William Shakespeare I The Complete Works (1969) p. 1138. 8. See William Shakespeare: A Textual Companion (1987) pp. 128, 501. Lake (1975), Jackson (1979) and Holdsworth are given credit for providing most of the evidence for the theory. 248 Notes to pp. 198-200

9. Hibbard, Introduction to the Peng. Tim. ( 1970) p. 18. On the matter of coinage and the value of the talent, see Terence Spencer, 'Shakespeare Learns the Value of Money', SS 6 (1953) pp. 75-8; Soellner, op. cit., pp. 190-3; Oliver, Arden, pp. xxvii-xxviii; Hinman, op. cit., pp. 1137-8. One S.D. which probably should have been cancelled, is that for the entry of a Mercer at the beginning of l.i. The Mercer does not appear. Another matter which may be briefly mentioned here is that of Timon's epitaphs. There are no fewer than three different epitaphs if what the soldier reads at V .iii.3-4 is meant to be one of them. Certainly Alcibiades reads a conflation of two at V.iv. 70-3, and as they are incompatible one of them was probably meant for omission. See Oliver's note to V.iv.70-3. 10. Wilson Knight: 'Timon of Athens is a parable, or allegory ... It is sublimely unrealistic' (The Wheel of Fire, p. 220). Brad brook calls it 'emblematic rather than dramatic' and sees Timon as 'a role and not a character' (pp. 2, 16). To Charney (op. cit.) the play is 'a dramatic fable', by which he means 'what other critics have called a morality play or an allegory' (p. 1367). Soellner emphatically disagrees and thinks there is a great deal of realism in the character portrayal: 'Of the claims that Timon belongs to a genre different from tragedy, the one easiest to refute is that it is a "morality" ' (op. cit., p. 17). See also Maxwell, Cam, pp. xxviii-xxix and Oliver, op cit., p. li. II. Soellner emphasises Shakespeare's decision 'to make Timon's misanthropy into a humanly plausible experience', and the way in which all the important characters have complex individualities (op. cit., p. II and pp. 17-29 passim). 12. Champion, Shakespeare's Tragic Perspective (1976) p. 216. See also Maxwell's discussion, op. cit., pp.xxxviii-xl, and Hinman, op. cit., p. 1138. Oliver, on the other hand, defends the absence of a 'plot-link between Alcibiades and Timon' (op. cit., pp. xlviii- xlix); and Soellner argues that if'Alcibiades remains something of a puzzle' this is 'by design' (op. cit., pp. 50-63). 13. Ellis-Fermor, op. cit., pp. 168-9. 14. Hibbard, op. cit., p. 14. 15. Ibid., pp. 14-15. 16. As Soellner points out (op. cit., p. 22, n. 21), 'the problem is dealt with wittily by Bernard Paulin, "La Mort de Timon d'Athenes," Etudes Anglaises 17 (1964): l-8.' 17. There seems to be an explanation lacking, too, for the reappea- rance of the Steward in Timon's service at III.iv.l02 after he has just been 'cashier'd' (55-60). In the anonymous Timon play which Shakespeare may have known, Timon dismisses his servant Notes to pp. 201-6 249

Laches, but the faithful man returns to his service in disguise- see Sources, VI, pp. 305-6. 18. See Oliver, op. cit., p. xlvii, and Soellner, op. cit., p. 37. 19. The Lords and creditors whom we actually see (apart from Ventidius, who is a special case) are anonymous until Act III and are again anonymous in III.vi. Timon's servants, apart from the Steward, are anonymous until II.ii.l89 (when Flaminius is called Flavius, the name given to the Steward at l.ii.l53) and again in IV .ii. Did Shakespeare write the part of the play where the names are given (perhaps from II.i to III.v) after he wrote the anonymous scenes, or did he add the names in revision? The creditors' servants, oddly enough, are named in II.i-III.iv. Lucius and Lucullus are spoken of by name in l.ii.l79-89 (and again in Il.ii. 191-9). If they were among the anonymous Lords at the first banquet this suggests that they depart before their gifts are brought to Timon and that the company has broken up before the arrival of a group of Senators at l.ii.l70. But see pp. 202-3 below. 20. Ellis-Fermor surmises that the Fool either 'ceased to be part of Shakespeare's design by a change of intention after this scen,e, or that the scenes or passages in which his function and relation to the play would have appeared were never written or were lost' (op. cit., p. 167). Hibbard speaks of 'a false start' (op. cit., p.l6); see also Hinman, op. cit., p. 1137 and Oliver, op. cit., p. xxvii. Soellner characteristically defends the Fool episode (op cit., pp. 36, 150, 188). 21. Ellis-Fermor, op. cit., p. 169. 22. Hibbard: 'it is difficult not to feel that the exchanges between Timon and Apemantus go on too long, and that the opprobrious epithets they hurl at each other do not do much credit to the inventiveness of either of them' (op. cit., pp. 16--17). 23. Oliver finds a 'false exit' at IV.iii.377-95. He concludes that 'the author changed his mind while writing and did not go back to alter' (op. cit., p. xviii). 24. There can be no doubt to my mind that F has confused the speech assignations at this point. Apemantus departs with the curse 'Live, and love thy misery. I Long live so, and so die! I am quit' (398-9), and it is Timon who then, on seeing the Banditti, exclaims, 'Moe things like men! Eat, Timon, and abhor them' (400). Compare his exclamations on seeing Alcibiades, 'The canker gnaw thy heart, I For showing me again the eyes of man!' (IV.iii.49-50), and on seeing Apemantus, 'More man? Plague, plague!' (IV.iii.l99). 25. Soellner, op. cit., pp. 44, 188-9. 26. It seems also possible that Shakespeare aimed at a rough recessive symmetry of appearances in relation to Timon. 'Certain Senators' 250 Notes to pp. 207-12

are the first, according to the S.D. at l.i.38 to 'go in to Timon', next come the Poet and Painter, then Apemantus, and finally Alcibia- des. These characters visit Timon in the inverse order in Acts IV-V. 27. Oliver, op. cit., p. xxviii. 28. Ibid. 13 CONCLUSION

l. Oth., Lear, and Mac. (plus Gym., classified in F as a tragedy) are divided into acts and scenes; Tit., JC, and Cor. into acts. Ham. is divided as far as Il.ii. The remainder of the tragedies have only initial act and scene designations in F. The Oth. 1622 Q has act designations for II, IV and V. 2. Baldwin, Shakspere's Five-Act Structure (1947, 1963). 3. See Baldwin, op. cit., p. 239. 4. See pp. 46-50, 98-9. The problem of the time that elapses between Othello's arrival in Cyprus and !ago's temptation is of a different kind. 5. See my article, 'Shakespeare's Absent Characters', ES 61.5 (1980) ~97-407. 6. There are not many examples in the tragedies of characters growing to disproportionate dimensions, as happens to Falstaff, Shylock and possibly Berowne, perhaps because the tragedies tend to focus more exclusively on one or two principal protagonists than than do the comedies and many of the histories. Aaron might be mentioned, however. 7. See my article 'Repetition, Revision, and Editorial Greed m Shakespeare's Play Texts', Cahiers, 34 (1988) pp. 25-37. Bibliography

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Abridgment, llS-19, 124, 147, 150 Belleforest, F. de, 60-l, 70-l, 76, 80, Absence of characters, 38, 42-3, 83 53-5, 76, 91, 131, 133-4, 155, Bennett,]. W., 133, 239n6 195, 201-2, 211 Bentley, G. E., xi Accident, 30, 33-4, 222n8 Bevington, D., 3-4, 6, 217nl2 Action, S-9, 17,24-5, 129, 148, Boas, F. S., 243nl 164-6, 180, 235n6 Boccaccio, G., I Actor economy, 38, 54, 211 Boaistuau, P., 31, 22ln6 Acts and scenes, 208, 22ln20, Bonian, R., 10 234n23, 250nl Booth, S., 238n2, 239nl4 Adams, J. C., 219n4 Bowers, F., 224nll Adams, J. Q., 24ln4 Bradbrook, M. C., 5, S-9, 197-8, Addition, 43-4, 53-4, 75, 79, 92-3, 217n6, 12, 13, 15, 218n22-4, 118, l3S-9, 154, 161, 206, 212, 247n2 224n32; see also Interpolation Bradley,A.C., Ill, 118,136,164, Adultery, 24, 70-l, 73, 77, 87, 102, 174, 234n4, 236nl6, 17, 239nl3, 104-5, 115, 228nl5, 236nl6 242n10, 16, 243nl, 5, 8, 11, Afterthought, 51, 55, 206, 212, 245n23, 246n20 23ln37 Bradshaw, G., 228nl8 Alexander, P., 233nl2 Braunmuller, A. R., 15, 217nll, Allegory, 16-22, 25-6, 142, 199, 206, 220nl3 211, 248nl0 Brennan, A., 218n30 Allen, N. B., 100-l, 104, 107, Brewer, D.S., 226n3l 115-16, 234nl, 235nll Bright, T., 62-3 Ambiguity, 12, 19, 36, 68, 105, 141, Brockbank, P., 195, 246nl7 160, 174, 210 Brooke, A., 29-34, 40-l, 43, 22ln6, Ambition, 114-15, 151, 187-8, 222nl0, 223n3l 237n27 Brooke, N., 15, 219n5, 220n8, 12, Ambivalence, 35, 169, 174, 217nl9 22ln22 Amneus, D., 218n26, 237n34, 24ln4 Browning, I. R. 246nl8 Arden of Faversham, 25 Bullough, G., 15, 180, 220n9, 22ln6 Aristotle, 2-3, 41, 227n7 (and Notes passim) Armin, R., 23ln42 Burton, R., 62-3 Butter, N., 10 Bacon, F., 64 Baldwin, T. W., 208, 217n5, 235n8, Cambises, 217nl4 250n2, 3 Campbell, 0. J., 92, 232n10, 12 Bale, J., 217nl2 Case, R. H., 243nl, 244nl8 Barton, A., 232nl0 Catastrophe, 3, 6, 28, 90

259 260 Index

Causal connection ~10, 30, 36 Lear, 129, 13&-7, 239n9 Chambers, E.K., 54, 197, 216nl Ligarius, 53-4 Champion, L. S., 199, 219n3, Lucilius, 55-6 220nl0, 22lnl7, 19, 21, 240n25, Macbeth, 152, 15&-60, 188 248nl2 Macbeth, Lady, 151, 15&-61 Character portrayal, xi, 2, 9, Macduff, 151-2, 155, 24ln4 17-19, 21-2, 25-6, 44, 5&-9, Mercutio, 27, 43-4, 223n32 60-1, 65, 88, 99, 112, 12&-7, Messala, 55-6 129-30, 135, 163, 174, 18(}-2, Octavius, 165-6 189, 191, 193-5, 19~9, 210, Othello, I 0(}-28 passim 220n 10, 250n6 Pandarus, 93-4 Characters of Shakespeare's Paris, 3~9 tragedies Polonius, 76, 7~9 Aaron, 21, 23-5, 250n6 Romeo, 34-5 Achilles, 91, 9&-7, 233nl8, 19 Saturninus, 18, 20, 23 Albany, 139-42, 145, 148 Soothsayers, 167-9, 225nl3 Antony, 5&-8, 163-71, 173-4, Tamora, 18, 21-2 177....g Timon, 199-200, 204-5 Banquo, 155, 160 Titinius, 55-6 Benvolio, 42-3 Titus, 1~21, 220nl0 Brutus, 54-5, 5~9, 64, 82, 189, Troilus, 91, 95, 97 226n30, 31 Valeria, 193-5 Capulet, 27, 39, 44 Ventidius, 20(}-2 Casca, 54 Volumnia, 189-90, 192-5 Cassio, 100, 102-3, 107 Witches, 161 Cassius, 53, 59 Charney, M., 247n6, 248nl0 Chiron, 21-2, 24-5 Chaucer, G., 31, 90, 94-5, 221n6, Claudius, 70 222n10, 232n7 Cleopatra, 163, 171-9 Chettle, H., 94 Cordelia, I ~9 Chorus, 44, 217n9, 224n34 Coriolanus, 18(}-93, 195-6 Chronology, xiii Cressida, 95-6 Cinthio, G., 10(}-1, 105, 110, 116, Demetrius, 21-2, 24-5 124, 234n2, 236n21 Desdemona, 101-2, 104-7, 238n47 Clemen, W., 9 Edgar, 142, 148, 240n25 Climax, 10, 76, 79, 90, 117, 121, Edmund, 135-6, 239nl2 124, 127, 151, 20~9 Fleance, 155, 242n7 Coghill, N., 11~19, 233n12, 237n36 Fool, xii, 131, 133-5, 239n9 Coleridge, S.T., 236n19, 237n28 Friar, 28, 33, 43 Collaboration, ix, 15, 198 Gertrude, 6~78 Comedy, 1-2, 5-6, 27....g, 33-4, 85, Ghost, 70, 76, 230n26 91-2, 18&-7, 194, 22ln3, Hamlet, 6Q....g8 passim 232nl0, 237n29 Hector, 9(}-1, 94-5 Compression, concentration, 14, 41, Horatio, 84, 23ln39 46, 49, 51, 98, 106 Iago, 114-16 Condell, H., 197, 214, 219n33 Juliet, 34 Contradiction, 3~9, 65, 94-5, 97, Julius Caesar, 59 138, 169, 177, 194, 229n20, Kent, 131-3, 14~9, 238n5 247n30; see also Inconsistency Laertes, 7~9, 84 Cowhig, R., 236nl9 Index 261

Cutting, 118-24, 133, 139 Experiment, exploration, x, 13, 68, 207 Daniel, S., 177 Fairy-tale, folklore, 130, 211, 238n2 Davies, H. N., 243n9 Falstaff, 12, 93-4 Decorum, 2, 9, 27, 86 Famous Victories, Dekker, T., 94 3 Fate, destiny, 'the stars', 6, 25-6, Delay, 25, 61-5, 68, 77, 85-6, 117 29-31, 33-7, 59, 79, 218nl9, Deletion, intended, 16, 37, 55, 82-3, 22ln5 97-8, 119-20, 125-6, 176-7, Foreboding, 30, 22ln7; see also 204-6, 212, 230n35, 237n30, Prophecy 248n9 Fortin, R. E., 217nl9 Der Bestrafte Brudermord, 83, 230n26 Fortune, 6, 29-30, 35, 45-6, 129, Dessen, A. C., 2, 17, 217n4, 220n6, 22ln6, 222nl6 233n 17, 243n9 Free will, responsibility, Destiny, see Fate 6, 34-6, 156, 22ln5, 6, 222nl6 Dickey, F. M., 27, 33, 35, 44, 92, Freud, S., 190 177-8, 22lnl, 232nl0, 245n31 Furness, H.H., 228nl6, Diptych, 51, 59, 79, 209 230n27 Furnivall, F. Discontinuity, 22-5, 68, 116, 209 J., 228nl7 Fuzier, J., Discrepancy, 37, 100-1, 163; see also 243n7 Inconsistency Gerard, Dorsch, T.S., 225nl3, 22, 226n31 A., 232nl 'Double time', 101-6, 146, 175, Ghosts, 59, 61, 76, 79-81, 152, 160, 225n26, 235n9, 24ln31, 245n28 230n26 Doubling, 43, 51, 53, 223n23, Gibbons, B., 22ln6, 222nl0, 223n22 Gorboduc, 225nl5 3, 217nl4 Greene, R., 7, Dryden, J., 243nl 15 _ Greg, W. Duplication, 37, 54-5, 93, 222nl9 W., 232ns9, 12 Dyson, P., 24ln2 Guilt, 6, 12, 31-4, 44, 69-71, 73-4, 86, 156-7, 160-1, 228nl8

Edwards, P., 227n8, 10, 11, 228nl5, Haines, C., 104, 235n7, 10, 12 229n20, 230n26, 33, 23ln36 Hamartia, 6, 34; see also Guilt Eliot, T. S., 77, 230n28, 238n46 Harrier, R. C., 244nl8 Ellis-Fermor, U., 197-200, 202, Harrison, G. B., 155, 24ln3, 242n9 247n4, 249n20 Heaven, see Providence Empson, W., 12, 218n29 Heffner, R. L., 245n28 Engler, B., 237n39 Heminge,J., 197,214, 219n33 Enright, D.J., 243n3, 246ns7, 10, 24 Henslowe, P., 94, 226n2 Epilogue, 93, 99, 217n9 Henryson, R., 94 Euripides, 3, 217nl0 Hibbard, G. R., 67, 180, 194, 198, Evans, B., 15, 57-8, 132-3, 135-6, 200, 227n8, 230n35, 234n3, 151, 173, 219n3, 220nll, 15, 245nl, 248n9, 249n20, 22 239n10, 242nl5, 16, 244nl7, Hill, R. F., 220nll 245n25 Hinman, C., 198, 247n3, 7, 248n9, Evans, G. B., 36, 22ln5, 223n32 12, 249n20 Expectation, 28, 50, 80, 90-1, History plays, xi, 3-6, 9, 11-14, 17, 107-11, 114, 130-2, 141, 151, 92 164, 200-2 Holdsworth, R. V., 247n8 262 Index

Holinshed, R., 45, 150, 153, 155, Lacunae, 47, 50, 157, 162, 199-202, 241n4 212, 214, 242nl0 Homer, 97, 234n25 Lake, D.J., 247n8 Honigmann, E. A. J., 118, 122, Lamb, C., 218n30 197-8, 219n33, 237n36, 240n15, Lawlor,j., 218n20 247n2 · Leavis, F. R., 113, 236n25 Honour, 171, 187, 189, 191-2 Leech, C., 6, 216n2, 218n3l, Hosley, R., 222n19 236nl7, 237n40 Hotson, L., 23ln42 Levin, H., 27-8, 221n2, 236n21, Humphreys, A., 53, 224n II, 237n28, 29, 238n47 225ns2l, 24, 25, 226n27 Linn, R., 239n7 Littlewood, j. C. F., 181-3, 193, 199, Ibsen, H., 103, 243nl3 245n3,6, 246n24 Imagery, 8-9 Love, 6, 27-8, 44, 66, 70, 85, 89-90, Inconsistency, 21-2, 39, 83-6, 93, 96--7, 106, 165, 171, 173-4, 191, 99, 106--7, 116, 153, 156--7, 228n13, 231n4l, 232nl, 3 166--9, 231n39 Lydgate, J ., 234n25 Inns of Court, 93, 197, 233n12 Interpolation, insertion, 16, 54-5, Machiavelli, N., 63, 190 83-5, 97, 136--7, 202-3; see also Mack, M., 80, 230n32 Addition Madariaga, S. de, 68, 77, 227n12, Irony, 16, 94-5,99, 211, 230n29 230n25 Ives, E. W., 222nl2 Madness, 18-19, 21, 60--1, 75, 129, 142, 220n9, 10, 226nl Jackson, M. P., 247n8 Maguin, J .M., 245n28 Jaggard, W., 91 Margeson, J., l-3, 5, 216n2, 217n11, James I, 63, 154, 161, 243n9 222n16 Jealousy, 70, 110--11, 115, 121 Marlowe, C., 15 Jenkins, H., 227n6, 228n15, 17, 19, Doctor Faustus, 6, 227n7 231n39, 40 The Jew of Malta, 5, 17 Johnson, S., 226nl, 236n18, 243nl, Mason, H. A., 163, 165, 178, 181, 244n14 199, 243nl-3, 5, 6 Jones, E.. 3, 15, 48-9, 51, 90, Maxwell, J. C., 15, 198, 219n4, 217ns3, 8, 10, 12, 13, 224n4-7, 247n4, 248nl0, 12 12, 232n5, 243n8, 13, 244nl4 Meagher, J. C., 223n23, 239n9 Jonson, B., 92, 236n20 Mendon~a, B. de, 237n29 justice, 7, 18-21, 86 Meres, F., 217nl4 Metaphysics, 29, 61, 80--2, 217nl9 Kempe, W., 23ln42 Middleton, T., ix, 161, 198 Kermode, F., 198 Mirror for Magistrates, 2 Kimbrough, R., 233n18 Montaigne, M. de, 62, 227n7 King, R., 235nl0 Morality, 22, 33-5, 99, 140 Kirschbaum, L., 240n25 Morality plays, 2, 7, 17, 19, 21, 199, Kistner, A. L. and M. K., 220nl0 233n17, 248nl0 Knight, G. W., 9, 191, 246n24, Mother and son, 68-78, 87-8, 247n28, I, 248nl0 189-92 Kyd, T., 15 Motivation, 4, 6, 23-5, 28-9, 61-5, The Spanish Tragedy, 5, 17, 21-2, 70, 87, 96, 114-16, 153, 166--74, 25, 60--l, 76, 226n2 188, 199, 237n28, 31, 33 Index 263

Muir, K., 93, 154, 232nl2, 239n7, Powell, R., 245n3 242n 10, 243n 17 Pride, 96, 182, 187, 190-2 Mystery plays, 3, 8-9, 129, 162 Prologue, 10, 27-30, 89, 217n9 Prophecy, 150-l, 156, 161-2, 222n7 Narrative, 3, 8-9, 129, 162 Prose and verse, 22-3, 97-8, 120, Nashe, T., 7 136, 138, 195, 198, 206, 220nl4, Neill, M., 237n3l 234n22, 242n10 Nelson, T. G. A., 104, 235n7, 10, 12 Protasis, epltasis, catastrophe, 102, 208, Nevo, R., 22ln3, 222n8 235n8 Newton,J. M., 7, 218n2l Providence, Heaven, 30, 35-6, Nochimson, R. L., 164, 168, 243nl, 79-82, 85, 217nl9, 222nl6 4, 244nl7 Psychology, 10, 17, 25, 28, 60, 151, Nosworthy,J. M., 62, 161, 226n4, 160, 174, 187, 191, 23ln38 243nl7 Punishment, 7, 32, 36, 86, 150-l Novelle, 5, 9, 28 Quarto and Folio, 4, 11, 40, 44, Oliver, H.J., 198, 207, 219n32, 65-8, 74-5, 82, 117-24, 132-4, 248n9, 10, 12, 249nl8, 20, 23 138-48, 213-4, 229n22, 240n27 Omission, 82-3, 117-24, 133-4, Queen Mab, 43-4, 224n32 139, 142, 145, 229n20 Overbury, T., 62 Race, 107-14, 236nl9, 20, 21 Palmer, D.J., 15 Ravenscroft, E., 15 Palmer, J. L., 187, 191-2, 245n4, Realism, 2, 16-22, 25-6, 48, 105, 246n7, 20, 25 129-30, 199, 210-11, 248n10 Palmer, K., 93, 97, 23lnl, 232n3, 4, Rearrangement, 46, 50, 65-8, 136-7, 9, 233n 13, 234n21, 22 153-4, 175, 205-6,213, 227nll, Parrott, T. M., 15 242nl4 Paulin, B., 248nl6 Religion, 6-7, 30, 36, 80-2, 217nl9, Pearson, J., 15, 219n5, 246n8 230n33, 34 Peele, G., 15, 217nl2 Repetition, 16, 37-8, 44, 47-8, 55, Pembroke, Countess of, I 77 75, 93, 97, 119-20, 123-6, Performance, xi-xiii, 12-13, 43, 68, 137-8, 174-6, 193, 202-4, 75, Ill, 121, 124, 128, 147-8, 212-13, 219n4, 233n20, 234n22, 169, 214, 218n30 246n26 Peripeteia, see Turning-point Responsibility, see Free will Petronella, V. F., 242n8 Revenge, 18-20, 22-5, 61, 63, 69, Philosophy, 30, 35, 79-80, 130 77-8, 87, 115, 150-1, 191 Plato, 227n7 Revision, 11, 37, 53, 68, 75, 118, Plautus, 2-3 128, 138-9, 146-8, 207, 212, Plot, 2, 5, 9, 22-5, 60, 69, 78, 89-90, 218n25 151, 162, 186-7, 208-9 Rice, J. C., 238n47 Plutarch, 5, 45-7, 53-5, 168-9, Ridley, M.R., 118-9, 236nl9, 171-2, 182-4, 189-90, 194, 237n39, 238n44, 244n20, 224nl, 2, 225nl7, 23, 243n9, 10, 245n22, 30 244nl5, 16, 245n22 Riemer, A. P., 243nl Policy, 166, 189-90, 192, 194, Ritual, 16-17, 90 243nl2 Robertson, J. M., 15 Politics, 183-7, 192, 196 Rozett, M. T., 243nl 264 Index

Sanders, N., 226n30, 237n39 Titus Andronicus, xii-xiii, 3, 6, 13, Satire, 92, 99, 211 15-26, 60, 129, 207, 210-11, Saxo, 60-l, 71, 76, 83 213, 250nl Schiicking, L. L., 60-l, 67, 75, 83, Troilus and Cressida, 4, 10, 70, 226nl, 227n7, 229n2l, 230n24, 89-99, 209, 211 23ln37, 236nl5, 17 Two Gentlemen of Verona, 17, 41 Seeley, J. R., 70-2, 228nl7 Sin, 30-1, 35, 74; see also Guilt Seltzer, D., 232n8 Smallwood, R., xii-xiii, 228nl7 Seneca, 3, 7, 20, 217nl4, 220nl0 Smidt, K., 217n5, 220n7, 223n21, Setting, 13-14, 30, 41, 85, 89-90, 30, 224n33, 227n5, 229n20, 209, 244nl5 233nl4, 236n23, 237n27, 41, Shakespeare's plays 239nl5, 250n5, 7 Antony and Cleopatra, xi, 7, 51, 58, Smith, W. D., 54, 225nl9 146, 163-79, 180-l, 199, 211, Snyder, S., 22ln3 213 Soellner, R., 196, 205, 247nl, Comet[y of Errors, 3, 17, 34 248n9-12, 16, 249nl8, 20, 25 Coriolanus, xi, 7, 13, 54, 180-96, Soliloquy, 65-8, 77, 82-3, 115, 129, 199, 206-8, 2ll, 250nl 135, 158-9, 193, 205, 213, Cymbeline, 250nl 226n30, 227nl0, 237n30 Hamlet, xi-xii, 4-5, 7, 9, II, 25, Sommers, A., 15, 219n5 50, 60-88, 98, 150-l, 209-10, Spencer, T., 248n9 212-14, 217nl9, 234n3, Spenser, E., 52 235n8, 250nl Sprague, A.C., 224n34, 23ln38, Henry IV, 51, 92-4, 135 236nl7 Henry V, 12, 43-4, 98 Spurgeon, C., 8-9 Henry VI, xi, 4, 51, 92 Steevens, G., 230n27 Julius Caesar, xi-xii, 4-5, 9, 45-59, Stevens, M., 229n20 78-9, 82, 98, 209-10, 212, Stirling, B., 50, 178-9, 224nll, 230n26, 235n8, 250nl 244n20 King john, xi, 132 Stone, L., 222n 12, 13 King Lear, xi-xii, 4, 7, 9-ll, 13, Story, 10, 166 54, 86, 129-49, 209-12, 214, 'Strategic revision', 118, 120-4 250nl Stroup, T. B., 243nl, 244nl4 Love's Labour's Lost, 17 Structure, 2-4, 8-9, 45-6, 51-2, 79, Macbeth, ix, xi, 4, 9, 146, 150-62, 90, 165, 180, 208-9, 235n8, 209-10, 212, 244nl6, 250nl 244nl4 Measure for Measure, 64 Style, 7-9, 23, 99 Much Ado, 70 Subplot, 70, 131, 136, 155, 199-200 Othello, 7, 13, 70, 86, 98, 100-28, Suicide, 45, 59, 66, 84, 126, 169-73, 208-14, 250nl 222n 17, 226n30 Richard II, xi, 4-5, 232n6 Symmetry, 22, 51-2, 54, 59, 78-9, Richard Ill, xi, 4-5, 230n26, 90, 209, 232n4, 249n26 239n 15, 240n26 Romeo and juliet, 5-7, 10, 13, 25, 27-44, 49, 54, 86, 93, 134, Tanselle, G. T., 40, 223n27, 28 208, 210, 212, 214 Tarlton, R., 217nl2 Taming of the Shrew, 17, 41 Taylor, G., 142-3, 145, 198, 218n27, Tempest, 153 233nl2, 240nl5, 23, 26, 27, Timon of Athens, ix, xiii, 4, 7, 11, 24ln32, 247n8 13, 197-207, 213 Terence, 2-3, 10, 208 Index 265

Theme, 2-3, 16, 19, 24-5, 70, 77-8, Urkowitz, S., 140--1, 146, 240nsl5, 85, 87, 89, 133, 142, 146-7, 155, 19, 23, 24ln30 185, 202, 232nl Thomas, S., 224n32 Van Doren, M., 243nl Tillyard, E. M. W., 234n25 Van Laan, T. F., 79--80, 230n29 Time, treatment of, II, 39-42, Variant versions, ll, 43-4, 68, 75, 46-50, 69, 98-9, 101-6, 146, 93, 138, 214, 239nl5 166, 175-6, 209, 224n9, 10, Villain, 5, 21, 25, 114-15, 135 228nl3, 14, 235n6, 8, 236nl7, 24ln3l, 245n28, 250n4 Waith, E. M., 219n4, 220nl2 Tragedy, xi, l-10, 17, 27-8, 30, Walker, A., 92, 232nll, 233nl2 33-5, 91-2, 129, 163-5, 178-9, Walley, H., 10 181, 22ln3, 222n8, 232nl0 Walton, J. K., 229n23 Troublesome Reigne, 217nl2 War, 89--90, 95, 141-2, 189, 232nl, Turning-point, 51, 52, 76, 151, 166, 234n3, 240n27 209 Warner, D., xii Two-part play, 45, 50--2, 78-9, 90, Warning for Fair Women, 5 151, 162, 166, 209, 243nl3 Warren, M.J., 139, 218n27, 238n5, Type characters, 2, 17-18,62-5,87, 240nl5, 17 112-14, 236n23 Webbe, W., l, 216nl Webster, J., 114 Ulrici, H., 247n4 Wells, S., 198, 218n25, 28, 247n8 Unconformity, x-xi, 11, 28, 56-8, Wendlandt, W., 247n4 94, 106, 127, 148, 156, 179, 181, Wiles, D., xi 193-5, 207, 211-12, 215; see also Williams, G.J., 121, 238n42 Contradiction, Discontinuity, Williams, G.W., 223nl9 Discrepancy, Expectation, Willichius, 1., 235n8 Inconsistency Wilson, H. S., 244nl4 'Unities', 41, 106 Wilson, J., 101, 235n5 Unity, 2-3, 9--10, 41-2, 45, 79, 92, Wilson, J. D., 12, 15-16, 53, 187--8, 180, 196, 211 219nl, 224n 15, 242n 10, II, Ur-Hamlet, 5, 88, 230n26 243nl, 244nl8, 246nl2