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Notes and References Notes and References Place of publication is London, unless otherwise stated. I LITERARY CRITICISM AND SHAKESPEARE I. The treatment of these matters is intentionally brier. Fuller and more philosophically rigorous considerations are contained in Rene Wellek and Austin Warren, Theory rif Literature, 3rd edn (1966); E. D. Hirsch Jr, Validiry in Interpretation (New Haven, Conn., and London, 1967); and John Casey, The Language rifCriticism (1966). 2. Derek Traversi, Shakespeare: The Last Phase (1954) p. 268. 3. Bonamy Dobree, 'The Tempest', Essays and Studies (1952) p. 15. 4. The phrase is the title of an influential essay in W. K. WimsattJr and Monroe C. Beardsley, The Verbal Icon (Lexington, Ky, 1954). 5. For an account of how a work can take a different direction from the one its author intended see John Fowles, The French Lieutenant's Woman (1969) ch. 13. 6. Kenneth Muir, Shakespeare's Tragic Sequence (1972) p. 12. 2 'LOVE'S LABOUR'S LOST' I. Robert Y. Turner, Shakespeare's Apprenticeship (Chicago, Ill. 1974) p. 185. Cf. 'The play ... is today generally regarded as a delicate and controlled movement towards an acceptance of reality' - Ralph Berry, 'The Words of Mercury' ,Shakespeare Sflrvey 22 (Cambridge, 1969) p. 6g. 2. Harley Granville-Barker, Prifaces to Shakespeare: First Series (1927) pp. 14, 17· Fora recent view reinforcing Granville-Barker's see J. C. Trewin, Going to Shakespeare (1978): 'If the acting rhythms are right, the play will dance itself into memory' (p. 73). 3· Ibid., p. 3 I. 4. L. E. Pearson, Elizabethan Love Conventions (Berkeley, Calif., 1933) p.288. 156 NOTES AND REFERENCES 157 5. John Vyvyan, Shakespeare and Platonic Beauty (1961) p. 66. 6. G. Wilson Knight, The Shakespearean Tempest (Oxford, 1940) pp. 79-80. 7. Edward Dowden, Shakespeare: A Critical Study oj His Mind and Art (1875) pp. 62-4· 8. H. B. Charlton, Shakespearian Comedy (1938) pp. 271-2. 9. Ibid., p. 271. 10. M. M. Mahood, Shakespeare's Wordplay (1957) pp. 175-6. I I. E. M. W. Tillyard, Shakespeare's Early Comedies (1965) pp. 173-4. 12. Bobbyann Roesen (Anne Barton), 'Love's Labour's Lost', Shakespeare Quarterly, IV (1953) 415-16. 13· Ibid., p. 416. 14· Ibid., p. 425. 15. This view of Shakespeare's structuring of the relations between the men and the women is endorsed implicitly or explicitly by many critics. See, for example, H. M. Richmond, Shakespeare's Sexual Comedy (Indianapolis, Ind. 1971); and William C. Carroll, The Great Feast oj Language in 'Love's Labour's Losf (Princeton, NJ, 1976). 16. Richard David, 'Shakespeare's Comedies and the Modern Stage', Shakespeare Survey 4 (Cambridge, 1951) p. 132. 17. Alexander Leggatt, however, comments, 'there is something sadistic in Rosaline's attitude to Berowne' -Shakespeare's Comedy of Love (1974) p. 79· 18. The possibility is explored in Carroll, The Great Feast ojLanguage, which sees the playas finding a reconciliation of opposites in the final songs. By contrast, John Wilders in 'The Unresolved Conflicts in Love's Labour's Lost', Essays in Criticism, XXVII (1977) 20-33, argues that the play does not encourage uncritical endorsement of any character, set of attitudes, or issue, and that our sympathies are complex and to a large extent suspended to the very end of the play. 3 'HENRY IV' I. Lily B. Campbell, Shakespeare's' Histories': Mirrors of Elizabethan Policy (San Marino, Calif., 1947) pp. 214-15. Cf. the statement that although Shakespeare 'is not primarily concerned ... with preaching the Tudor doctrine of non-resistance ... there can be no doubt that Shakespeare concurred in this doctrine' - Irving Ribner, The English History Play in the Age oj Shakespeare (Princeton, NJ, 1957) pp. 180-1. 2. Ibid., p. 213. 158 SHAKESPEARE AND THE CRITICS' DEBATE 3. E. M. W. Tillyard, Shakespeare's History Plays (1944) p. 277· 4. Ibid. 5. A. P. Rossiter, 'Ambivalence: The Dialectic of the Histories', in Angel with Horns, ed. Graham Storey (1961 ) p. 59. 6. Robert Ornstein, A Kingdomfor a Stage (Cambridge, Mass., 1972) p. 4. See also his 'Historical Criticism and the Interpretation of Shakespeare', Shakespeare QuarterlY, x (1959) 3-9. 7. Ibid., p. 22. That there was not one but were several Tudor interpretations of the period from Richard II has been amply demonstrated in H. A. Kelly, Divine Providence in the England of Shakespeare's Histories (Cambridge, Mass., 1970). 8. Herbert Howarth, The Tiger's Heart (1970). J. W. Lever's 'Shakespeare and the Ideas of His Time', in Shakespeare Survey 29 (Cambridge, 1976), provides a useful sketch of how much our notions about what Shakespeare and his age believed have changed in the last fifty years. 9. M. C. Bradbrook, Themes and Conventions of Elizabethan Tragedy (Cambridge, 1935); and Una Ellis-Fermor, The Jacobean Drama (1936). 10. Writing on Shakespeare's use of the disguise convention he points out, 'Viola's masquerade in Twelfth Night is scarcely to be reckoned a disguise, for it imposes on no one who knows her. Orlando in As You Like It has only once seen Rosalind in her proper shape, and so might not recognise her' - William Archer, The Old Drama and the New (192 3) p. 42 . I I. S. L.Bethell, Shakespeare and the Popular Dramatic Tradition (Durham, NC, 1944) p. 79. 12. John Palmer, Political and Comic Characters of Shakespeare (1962) pp. 184-5. 13. Daniel Seltzer, 'Prince Hal and Tragic Style', Shakespeare Survey 30 (Cambridge, 1977) p. 23· 14. Ornstein, A Kingdomfor a Stage, pp. 137-8. 15· J. F. Danby, Shakespeare's Doctrine f!fNature (1948) pp. 96-7. 16. Derek Traversi, Shakespeare from 'Richard II' to 'Henry V' (1957) pp. 4, 58. 17· L. C. Knights, Some Shakespearean Themes (1959) pp. 23-4· 18. Ibid., pp. 52, 57-8. 19. Dr Johnson on Shakespeare, ed. W. K. Wimsatt (Harmondsworth, 1969) pp. 66, 107. 20. Christopher Spencer (ed.), Five Restoration Adaptations of Shakespeare (Urbana, Illinois, 1965) p. 253. NOTES AND REFERENCES 159 2 I. Knights, Some Shakespearean Themes, pp. 62-3' 22. T. J. B. Spencer, 'The Course of Shakespeare Criticism', Shakespeare's World, ed. James Sutherland and Joel Hurstfeld (1964) p. 170 . 23. L. C. Knights, Explorations (1946) p. 16. 24. G. Wilson Knight, The Wheel qfFire (Oxford, 1930) p. 16. 25. F. R. Leavis referred darkly to 'the coterie crusade to re-impose Bradley' - English Literature in OUT Time and the Universiry (1969) p. 152. The truth is, as Katharine Cooke shows in A. C. Bradley and his Influence in Twentieth-Century Shakespeare Criticism (Oxford; 1972), that Bradley's influence was never wholly absent. 26. Ornstein, A Kingdom for a Stage, p. 129. 27. Knights, Explorations, p. 16. 28. Dr Johnson on Shakespeare, p. 120. 29. A. C. Bradley, Oxford Lectures on Poetry (1909) p. 273· 30. Dr Johnson on Shakespeare, pp. 117-18. 31. Bradley, Oxford Lectures, pp. 260, 263. 32. J. Dover Wilson, The Fortunes qfFalstafJ (Cambridge, 1943) pp. 18, 22. 33. Ornstein, A Kingdomfor a Stage, p. 162. 34. II ii 63-5, II ii 477-81. 35. Wilson, Fortunes of Falstaff, p. 58. 36. Falstaff's frequent use of the 'if' construction was first noticed by Norman N. Holland in his excellent account of Henry IV Part I in The Shakespearean Imagination (Bloomington, Ind., 1964). Falstaff's philo­ sophical acceptance of life becomes less evident in Part 2, and both the attitude and the same speech patterns are given to Feeble in the recruiting scenes: 'I'll ne'er bear a base mind. An't be my destiny, so; an't be not, so. No man's too good to serve's Prince; and, let it go which way it will, he that dies this year is quit for the next' (III ii 228-32). 37. Dr Johnson on Shakespeare, p. 116. 38. Clifford Leech, 'The Unity of 2 Henry IV', Shakespeare Survey 6 (Cambridge, 1953) p. 24· 4 'THE TEMPEST' I. E. E. Stoll, 'The Tempest', Publications of the Modern Language Association of America, XLVII (1932) 699. 2. Lytton Strachey, Books and Characters (1922) p. 63. 160 SHAKESPEARE AND THE CRITICS' DEBATE 3. L. L. Schiicking, Character Problems in Shakespeare's Plays (1922) P·243· 4. George Garrett and William Empson, Shakespeare Survey (1937) P·55· 5· Ibid., pp. 42-3. 6. Colin Still, The Timeless Theme (1936); john Vyvyan, The Shakespearean Ethic (1959); j. E. Philips, 'The Tempest and the Renaissance Idea of Man', Shakespeare Q,uarterry, xv (1964) 147-59; Frances A. Yates, Shakespeare's Last Plays: A New Approach (1975). 7· G. Wilson Knight, The Crown of Life (Oxford, 1947) p. 253· 8. F. D. Hoeniger, 'Prospero's Storm and Miracle', Shakespeare Q,uarterry, VII (1956) 33. 9. C. j. Sisson, 'The Magic of Prospero', Shakespeare Survey II (Cambridge, 1958) p. 76. IO. Thomas McFarland, Shakespeo.re's Pastoral Comedy (Chapel Hill, NC, 1972) pp. 146, 174. I I. The fullest account of allegory in The Tempest is contained in A. D. Nuttall, Two Concepts of Allegory: A Study of Shakespeare's 'The Tempest' and the Logic of Allegorical Expression (1967). Nuttall concludes that the world of the play may be characterised as 'pre-allegorical'. 12. The Tempest, Penguin edn, ed. Anne Righter (Anne Barton) (Harmondsworth, 1968) p. 22. 13. Derek Traversi, Shakespeare: The Last Phase (1954) p. 194· 14. Ibid., p. 248. 15. The Tempest, New Arden edn, ed. Frank Kermode (1954) p. lxxxvii. 16. McFarland, Shakespeare's Pastoral Comedy, p. 164. 17. D. G.james, The Dream of Prospero (Oxford, 1968) p. 171. 18. In Modern Shakespeare Offshoots (Princeton, Nj, 1976) Ruby Cohn notes the interesting fact that 'The Tempest is Shakespeare's last play to produce a flurry of offshoots, and they focus on Cali ban rather than Prospero' (p.
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