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Introduction NOTES Introduction Quotation of Shakespeare’s plays and poems in the chapters in this volume are taken from William Shakespeare, The Complete Works of Shakespeare, ed. David Bevington, 6th edn. (New York: Pearson/Longman, 2009). 1. Sabine Melchior-Bonnet, The Mirror: A History, trans. Katharine H. Jewett (1994; New York and London: Routledge, 2001), 113. 2. Herbert Grabes, The Mutable Glass: Mirror-imagery in Titles and Texts of the Middle Ages and Renaissance, trans. Gordon Collier (1973; rpt. Cambridge: Cambridge UP, 1982), 202–20; Grabes, “Glassy Essence: Shakespeare’s Mirrors and Their Contextualization,” Hebrew University Studies in Literature and Art 9 (1981): 175–95; Carol Banks “ ‘The purpose of play- ing . ’: Further Reflections on the Mirror Metaphor in Shakespeare’s Plays,” Signatures 2 (2000): 1–12; Philippa Kelly, “Surpassing Glass: Shakespeare’s Mirrors,” Early Modern Literary Studies 8.1 (May 2002): 32 paras + 66 notes; and Arthur Kinney, “Shakespeare’s Mirrors,” Shakespeare’s Webs: Networks of Meaning in Renaissance Drama (New York and London: Routledge, 2004), 1–34. 3. Grabes, The Mutable Glass, 204. Grabes classifies and analyzes mirror passages in Antony and Cleopatra, Love’s Labor’s Lost, King John, As You Like It, Sonnet 62, The Two Gentlemen of Verona, King Richard II, King Richard III, Hamlet, and Measure for Measure. 4. See, e.g., Marvin Rosenberg, The Masks of King Lear (Berkeley: U of California P, 1972), 107; and Allan R. Schickman, “The Fool’s Mirror in King Lear,” English Literary Renaissance 21 (1991): 75–86. 5. The most recent, and the most thorough, analysis of King Richard II’s use of a mirror and its multivalent meanings appears in Kinney, Shakespeare’s Web 1, 3, 8–11, 12, 16, 18, 24, 26, 32–34. 6. “ ‘Words represent most exactly the image of the minde and soule: wherefore Democritus calleth speech . the image of life; for in words, as in a glass may bee seene a mans life and inclination.’ So writes Thomas Wright in The Passions of the Minde [1604] . Ben Jonson [in Timber; or Discoveries] declares: ‘Language most shewes a man: speake that I may see thee. It springs out of the most retired, and inmost parts of us, and is the Image of the Parent of it, the mind’ ” (Christina Luckyj, “A Moving Rhetoric”: Gender and Silence in Early Modern England [Manchester and New York: Manchester UP, 2002], 13–14, 37). Thomas Wright, The Passions of the Minde (London: Valentine Simmes, 1604), 105; Ben Jonson, Timber; or Discoveries, Ben Jonson, ed. C. H. Herford, Percy and Evelyn Simpson (Oxford: Clarendon Press, 1947), 8:563–649, esp. 625. 7. For some of the mirror passages concerning images of Queen Elizabeth in this great poem, see Edmund Spenser, Spenser: The Faerie Queene, ed. A. C. Hamilton; text eds. Hiroshi 212 Notes Yamashita and Toshiyuki Suzuki, Longman Annotated Poets (Harlow, UK: Longman, 2001), 1.Proem.1–5, esp. 4; 1.6.15; 2.Proem.4, 6–9; 2.3.25; 6.Proem.5–7. See Kathleen Williams, Spenser’s World of Glass: A Reading of The Faerie Queene (Berkeley: U of California P, 1966); and David Lee Miller, The Poem’s Two Bodies: The Poetics of the 1590 Faerie Queene (Princeton, NJ: Princeton UP, 1988), 101. 8. Benjamin Goldberg, The Mirror and Man (Charlottesville: UP of Virginia, 1985), 95–176; Melchior-Bonnet, The Mirror; Rayna Kalas, Frame, Glass, Verse: The Technology of Poetic Invention in the English Renaissance (Ithaca and London: Cornell UP, 2007), esp. 106–205. Also see Kinney, Shakespeare’s Webs, 3–5. 9. Melchior-Bonnet, The Mirror, 18; Goldberg, The Mirror and Man, 135–52; Grabes, The Mutable Glass, 4–5. The quoted phrases are Melchior-Bonnet’s. 10. Melchior-Bonnet, The Mirror, 22. This historian notes, however, that “[c]rystal glass mir- rors were not produced in England until 1624” (117–18). 11. Goldberg, The Mirror and Man, 143; Kalas, Frame, Glass, Verse, 100. 12. Kalas, Frame, Glass, Verse, 107; Melchior-Bonnet, The Mirror, 10. 13. Kalas, Frame, Glass, Verse, 107. 14. Melchior-Bonnet, The Mirror, 22. 15. George Gascoigne, The Steele Glas and The Complainte of Phylomene, ed. William L. Wallace, Elizabethan and Renaissance Studies 24 (Salzburg, Austria: Institut für Englische Sprache und Literatur, 1975), 86–138, 188–206. 16. Ibid., 68n73. 17. Kinney, Shakespeare’s Webs, 14–15. 18. Kalas, Frame, Glass, Verse, 114. 19. Goldberg, The Mirror and Man, 144. 20. Debora Shuger, “The ‘I’ of the Beholder: Renaissance Mirrors and the Reflexive Mind,” Renaissance Culture and the Everyday, ed. Patricia Fumerton (Philadelphia: U of Pennsylvania P, 1999), 21–41. 21. Ibid., 22. 22. Ibid. 23. Ibid. 24. On the supposedly rare occasions when, according to Shuger, an English Renaissance writer such as Sir John Davies in Nosce Teipsum does see reflected in a mirror an inward self, “that self turns out to be generic rather than individual” (ibid., 26). In Davies’ case, the “generic” self, according to this cultural critic, is his soul’s immortal face. 25. The thought of this sentence and that of the previous one derived from Sonnet 3 have, in a somewhat different form, been cited as precedent for Leontes’ seeing—momentarily, at least—the truth of Hermione’s and his conception of Mamillius (and the falseness of his jealousy) in the mirror of the boy’s face in The Winter’s Tale. See Kalas, Frame, Glass, Verse, 186, and Yves Peyré, “Mirrors in the Eyes: The Winter’s Tale, from Mannerism to Baroque?” Contexts of Baroque: Theatre, Metamorphosis, and Design, ed. Roy T. Eriksen, Novus Studies in Literature 1 (Oslo, Norway: Novus Press, 1997), 79–98, esp. 79–85. 26. In the most recent analysis of Sonnet 3, Aaron Kunin, in “Shakespeare’s Preservation Fantasy,” PMLA 124 (2009): 92–106, esp. 96–97, notes that “[t]he late introduction of the young man’s mother [in this sonnet] makes this account of reproduction . incoherent even on its own terms: the young man’s image is supposed to be exactly reproduced in the face of his child, but he has received that image from his mother . rather than from his father, which implies that ‘some’ mothers are more important than others” (97). Kunin’s shrewd insight does not affect Shakespeare’s assumption of the possibility in this sonnet of subjec- tive understanding delivered via a mirror. 27. Kelly, “Surpassing Glass” (paras. 8–10), provides a persuasive account of Shakespeare’s sense of a subjective self from his reaction to seeing his face in a mirror as recounted in Sonnet 62. Notes 213 Chapter One 1. Sir John Davies, Nosce Teipsum, Philosophy in Poetry: A Study of Sir John Davies’s Poem Nosce Teipsum (1903; rpt. New York: Greenwood Press, 1969), 221–319, esp. 275. 2. Ibid., 280, 281; emphasis in the original. 3. George Puttenham, The Arte of English Poesie, ed. Gladys Doidge Willcock and Alice Walker (Cambridge: Cambridge UP, 1936), 19. 4. Sir Philip Sidney, The Countess of Pembroke’s Arcadia, ed. Maurice Evans (Harmondsworth, UK: Penguin, 1977), 433–434. 5. Christopher Marlowe, Dr. Faustus, The Complete Works of Christopher Marlowe, Volume II, ed. Fredson Bowers, 2nd edn. (Cambridge: Cambridge UP, 1981), 121–271, esp. 172. 6. Baldassare Castigione, The Courtier, trans. Charles Singleton (Garden City, NJ: Doubleday, 1959), 354. 7. Gordon Worth O’Brien, Renaissance Poetics and the Problem of Power (Chicago: Institute of Elizabethan Studies, 1956), 1–9, 17–21, 24, 26–27, 28, 38, 40, 45–46. 8. Ibid., 2. 9. Ibid. 10. Among this small minority must be counted Edmund Spenser, at least at the time he wrote An Hymne of Heavenly Beautie (1586): Thence gathering plumes of perfect speculation To impe the wings of thy high flying mynd, Mount up aloft through heavenly contemplation, From this darke world, whose damps of soule do blynd, And like the natiue brood of Eagles kynd, On that bright Sunne of glorie fixe thine eyes, Clear’d from grosse mists of fraile infirmities. (Ll. 134–40) Edmund Spenser, An Hymne of Heavenly Beautie, The Yale Edition of the Shorter Poems of Edmund Spenser, ed. William A. Oram et al. (New Haven and London: Yale UP, 1989), 735–52, esp. 742–43. 11. O’Brien, Renaissance Poetics, 3. 12. Francis Bacon, in the Novum Organum (I.12), concludes, “ ‘And the human understand- ing is like a false mirror, which, receiving rays irregularly, distorts and discolors the nature of things by mingling its own nature with it’ ” (O’Brien, Renaissance Poetics, 4). Note that Bacon, perhaps skeptically, does not say that the understanding is a false mir- ror, but that it is like a false mirror, as though the system of faculty psychology based on mirrors were simply a metaphor for something quite different. Still, Bacon maintained that “ ‘the mind of man is far from the nature of a clear and equal glass . Nay, it is rather like an enchanted glass, full of superstition and imposture, if it be not reduced . [The Medieval Scholastics] ever left the oracle of God’s works and adored the deceiving and deformed images with the unequal mirror of their minds . [that] did represent unto them’ ” (ibid., 6). 13. O’Brien, Renaissance Poetics, 18. 14. Thomas Kyd, in The Spanish Tragedy (1582><1592), possibly supplied Shakespeare with this scenario when, in a popular scene, Hieronimo sees a self-image in the mirror of the old man Don Balzuto, who has sought redress from the Knight Marshall of Spain for his murdered son. Confronted with the reflection of his own loss of his son, Hieronimo feels momentary compassion for Balzuto and for himself: Oh, my son, my son, oh, my son Horatio! But mine, or thine, Balzuto, be content.
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