Shakespeare's late style

Shakespeare's Late Style

Volumn , Issue , 2006, Pages 1-260

  McDonald, Russ ^a  

^a UNIVERSITY OF LONDON   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84927047066     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1017/CBO9780511483783     Document Type: Book

References (190)

1. Howell's Devises 1581, With an Introduction by Walter Raleigh (Oxford: Clarendon Press, 1906), p. 31.
2. Howell's Devises “Close Reading without Readings,” in Shakespeare Reread: The Texts in New Contexts, ed. Russ McDonald (Ithaca: Cornell University Press, 1994), pp. 42-55
3. Braunmuller, Macbeth, p. 105n.
4. Braunmuller, Introduction to The Tempest (London: Methuen, 1954), p. Lxxix
5. Introduction to Macbeth (Oxford: Oxford University Press, 1990), p. 11.
6. L. C. Knights, Explorations: Essays in Criticism Mainly on the Literature of the Seventeenth Century(London: Chatto and Windus, 1946), p. 20.
7. David Kranz, “The Sounds of Supernatural Soliciting in Macbeth,” Studies in Philology, 100 (2003), 346-83
8. David Kranz, Jr., Killing the King (New Haven: Yale Univer-sity Press, 1973), pp. 160-64;
9. Madeleine Doran“The Macbeth Music,” Shakespeare Studies 16 (1983), 153-73;
10. Barbara Everett, Young Hamlet: Essays on Shakespeare's Tragedies (Oxford: Clarendon Press, 1989), and George Walton Williams, “Time for Such a Word: Verbal Echoing in Macbeth,” Shakespeare Survey 47 (1995), 153-59.
11. Stephen Greenblatt, “Shakespeare Bewitched,” in New Historical Literary Study: Essays on Reprodu-cing Texts, Representing History, ed. Jeffrey N. Cox and Larry J. Reynolds (Princeton: Princeton University Press, 1993), p. 123.
12. D. J. Gordon, “Name and Fame: Shakespeare's Coriolanus,” in The Renaissance Imagination, ed. Stephen Orgel (Berkeley: University of California Press, 1975), pp. 203-19.
13. Derek Attridge, Geoff Bennington, and Robert Young (Cambridge: Cambridge University Press, 1987), pp. 183-211.
14. Helge Ko“keritz, Shakespeare's Pronunciation (New Haven: Yale University Press, 1953), pp. 151-52.
15. Janet Adelman, Suffocating Mothers: Fantasies of Maternal Origin in Shakespeare's Plays, “Hamlet” to “The Tempest” (London: Methuen, 1991), pp. 147-64
16. Patricia Parker, “On the Tongue: Cross Gendering, Effeminacy, and the Art of Words,” Style (1987), 448. See also Philip Brockbank's Introduction to his Arden edition (London: Methuen, 1976), pp. 68-71.
17. John Porter Houston, Shakespearean Sentences: A Study in Style and Syntax (Baton Rouge: Louisiana State University Press, 1988), especially chapter 7, “Syndeton and Asyndeton in Coriolanus,” pp. 159-78.
18. George Puttenham, The Arte of English Poesie, a facsimile reproduction ed. Edward Arber, with an Introduction by Baxter Hathaway (Athens, Ohio: Kent State University Press, 1988), pp. 185-86.
19. Houston, Shakespearean Sentences, pp. 160, 161-62.
20. Quotations from Plutarch are taken from Geoffrey Bullough's Narrative and Dramatic Sources of Shakespeare, 6 vols. (New York: Columbia University Press, 1964), V: 506-7.
21. Robert J. Stoller, “Shakespearean Tragedy: Coriolanus,” Psychoanalytic Quarterly, 35 (1966), 263-74.
22. Morris W. Croll, Style, Rhetoric, and Rhythm, ed. J. Max Patrick, Robert O. Evans, et. Al. (Princeton: Princeton University Press, 1966).
23. Rosalie Colie, Shakespeare's Living Art (Princeton: Princeton University Press, 1974), pp. 168-207
24. Roger Ascham, The Schoolmaster, ed. Lawrence V. Ryan (Charlottesville: University of Virginia Press for the Folger Shakespeare Library, 1967), p. 114.
25. Francis Bacon, The Advancement of Learning, ed. Arthur Johnston (Oxford: Clarendon Press,1974), p. 26.
26. Medieval Misogyny, pp. 18-30.
27. Tertullian's “cum voce vestris intravit” is from De Pallio, Augustine's remarks from De Ordine: Both are quoted in Bloch, Medieval Misogyny, pp. 46, 220
28. Patricia Parker, Literary Fat Ladies: Rhetoric, Gender, Property (London: Methuen, 1987), p. 14.
29. Howell's Devises 1581, p. 31.
30. T. Wright, Shakespeare's Metrical Art (Berkeley: University of California Press, 1988), chapters 14 and 15. Literary Fat Ladies, p. 15.
31. G. Wilson Knight, The Imperial Theme, pp. 199-262
32. G. R. Hibbard, “Feliciter Audax: Antony and Cleopatra, I, 1, 1-24,” in Shakespeare's Styles: Essays in Honor of Kenneth Muir, ed. Philip Edwards, Inga-Stina Ewbank, and G. K. Hunter (Cambridge: Cambridge University Press, 1980), pp. 95-109.
33. Shakespeare's Living Art, p. 179.
34. Adelman, Suffocating Mothers, pp. 183-84
35. C. L. Barber and Richard Wheeler, The Whole Journey: Shakespeare's Power of Development (Berkeley: University of California).
36. Anne Barton, “Shakespeare and the Limits of Language,” in Essays, Mainly Shakespearean (Cam-bridge: Cambridge University Press, 1994), pp. 51-69.
37. F. E. Halliday, The Poetry of Shakespeare's Plays (London: Gerald Duckworth & Co., 1954); James Sutherland, “The Language of the Last Plays,” in More Talking of Shakespeare, ed. John Garrett (London: Longmans, 1959), pp. 144-48.
38. Harold Bloom, A Map of Misreading (New York: Oxford, 1971), p. 103,.
39. A. C. Bradley, Shakespearean Tragedy: Lectures on “Hamlet,” “Othello,” “King Lear” and “Macbeth,” With a New Introduction by John Russell Brown (London: Macmillan, 1972), p. 68.
40. Gladys Willcock, Shakespeare as Critic of Language (London, 1934), p. 3.
41. J. H. P. Pafford, Introduction to Arden2 edition of The Winter's Tale (London: Methuen, 1963), p. Xliii.
42. J. M. Nosworthy, Introduction to the Arden2 edition of Cymbeline (London: Methuen, 1955), p. Lxii.
43. A. C. Partridge, Orthography in Shakespeare and Elizabethan Drama: A Study of Colloquial Contrac-tions, Elision, Prosody, and Punctuation (Lincoln: University of Nebraska Press, 1964), p. 147.
44. D. A. Traversi, “Coriolanus,” Scrutiny, 6 (1937), 44.
45. Roger Warren, “Theatrical Virtuosity and Poetic Complexity in Cymbeline,” Shakespeare Survey 29 (1976), 46.
46. N. F. Blake, A Grammar of Shakespeare's Language (Houndsmills: Palgrave, 2002), p. 17.
47. Susan Wolfson, “Introduction” to Reading for Form, a special issue of Modern Language Quarterly, 61.1 (2000), 14
48. Frank Kermode, Shakespeare's Language (London: Penguin, 2000), p. 13.
49. Jonathan Crewe, “The Hegemonic Theater of George Puttenham,” ELR, 16 (1986), 71-85.
50. Jonathan Crewe, “In compounds like these-and the play is filled with them-nouns strike against nouns or other parts of speech with an immediacy and force which jars both components out of their accustomed meaning.” Introduction to her edition of The Tempest (Harmondsworth: Penguin, 1968), p. 13.
51. John Porter Houston, Shakespearean Sentences: A Study in Style and Syntax (Baton Rouge: Louisiana State University Press, 1988), p. 198.
52. N. F. Blake, Shakespeare's Language: An Introduction (London: Macmillan, 1983), p. 102.
53. Manfred Go“rlach, Introduction to Early Modern English (Cambridge: Cambridge University Press, 1991), p. 127.
54. Y. M. Biese, “Notes on the Compound Participle in the Works of Shakespeare and his Contem-poraries,” Academia Scientiarum Fennica, 63, no. 1 (1949), 7.
55. Stephen Booth, An Essay on Shakespeare's Sonnets (New Haven: Yale University Press, 1968), p. 89.
56. Helen Cooper, The English Romance in Time: Transforming Motifs from Geoffrey of Monmouth to the Death of Shakespeare (Oxford: Oxford University Press, 2004), p. 64.
57. Anne Barton, Essays, Mostly Shakespearean (Cambridge: Cambridge University Press, 1994), p. 180.
58. Martin Butler accepts this feature as a given of the late style in his Introduction to the New Cambridge Cymbeline (Cambridge University Press, 2005): “Frequently its speakers seem divorced from their own verse, striving after notions that they can barely find words to articulate” (p. 19).
59. Patrica A. Parker, Inescapable Romance: Studies in the Poetics of a Mode (Princeton: Princeton University Press, 1979), p. 63.
60. The Arte of English Poesie, pp. 180-81.
61. C. L. Barber and Richard Wheeler, The Whole Journey: Shakespeare's Power of Development (Berkeley: University of California Press, 1986), p. 310.
62. Philip Edwards, “The Danger not the Death: The Art of John Fletcher,” in Jacobean Theatre, ed. John Russell Brown and Bernard Harris (London: Edward Arnold, 1960), p. 164.
63. Terence Cave, Recognitions: A Study in Poetics (Oxford: Clarendon Press, 1988), p. 286.
64. Paul Fussell makes a related point about the workings of poetic contraction in Augustan poetry. “There is evidence, in fact, that the contemporary reader of 18th-c. Poetry derived much of hisaesthetic delight from his deliberate and conscious 'regularizing,' through contraction, of normally irregular phonetic materials.” “Poetic Contraction,” in The Princeton Encyclopedia of Poetry and Poetics, ed. Alex Preminger et al. (Princeton: Princeton University Press, 1993), p. 628.
65. Janet Adelman, Suffocating Mothers (London: Methuen, 1991), pp. 191-92:
66. Frank Kermode, Shakespeare: The Final Plays, British Writers and their Work (London: Longmans, Green, 1963), p. 22.
67. Keir Elam, “Early Modern Syntax and Late Shakespearean Rhetoric,” in Early Modern English: Trends, Forms and Texts, ed. C. Nocera Avila, N. Pantaleo, and D. Pezzini (Fasano: Schena Editore, 1992), p. 65.
68. A. C. Partridge, Orthography in Shakespeare and Elizabethan Drama: A Study of Colloquial Contractions, Elisions, Prosody, and Punctuation (Lincoln: University of Nebraska Press, 1964);
69. Jonathan Crewe, “Punctuating Shakespeare,” Shakespeare Studies 28 (2000), 23-31;
70. N. F. Blake, A Grammar of Shakespeare's Language (Houndmills: Palgrave, 2002), pp. 22-23;
71. Michael Warren, “Repunctuation as Interpretation in Editions of Shake-speare,” English Literary Renaissance,7 (1977), 155-69.
72. J. Murphy (Berkeley: University of California Press, 1978), pp. 127-42.
73. MacDonald Jackson, “The Transmission of Shakespeare's Text,” in The Cambridge Companion to Shakespeare Studies, ed. Stanley Wells (Cambridge: Cambridge University Press, 1986), p. 17.
74. Gary Taylor, with John Jowett and William Montgomery, William Shakespeare: A Textual Companion (Oxford: Clarendon Press, 1987).
75. Gary Taylor, with John Jowett and William Montgomery, A Grammar of Shakespeare's Language, pp. 2-7.
76. Vivian Salmon, “Sentence Structures in Colloquial Shakespearian English,” in Vivian Salmon and Edwina Burness, eds., A Reader in the Language of Shakespearean Drama (Amsterdam: John Benjamins, 1987), p. 268
77. John Porter Houston, Shakespearean Sentences: A Study in Style and Syntax (Baton Rouge: Louisiana State University Press, 1988), p. 18.
78. J. M. Nosworthy, ed., Cymbeline (London: Methuen, 1955), p. 72
79. J. M. Nosworthy, A Grammar of Shakespeare's Language, p. 267.
80. Peter Brooks, Reading for the Plot : Design and Intention in Narrative (New York: Alfred A. Knopf,1984), p. 17.
81. I have borrowed the term from William Poole, “'Unpointed Words': Shakespearean Syntax in Action,” Cambridge Quarterly, 32 (2003), 27-42.
82. The Arte of English Poesie, a facsimile reproduction ed. Edward Arber, with an Introduction by Baxter Hathaway (Athens, Ohio: Kent State University Press, 1988), p. 180.
83. Houston, Shakespearean Sentences pp, 18-19
84. Matti Rissanen, “Syntax,” in The Cambridge History of the English Language, vol. III, 1476-1776, ed. Roger Lass (Cambridge: Cambridge University Press, 1999), pp. 264-67.
85. Jonathan Hope, Shakespeare's Grammar (London: Thompson, 2003), p. 115.
86. John Lennard, But I Digress: The Exploitation of Parentheses in English Printed Verse (Oxford: Oxford University Press, 1991), p. 1.
87. These figures derive from Ashley Thorndike, “Parentheses in Shakespeare,” Shakespeare Association Bulletin, 9 (1934), p. 33.
88. Gary Taylor, “Shakespeare and Others: The Authorship of Henry the Sixth, Part One,” Medieval and Renaissance Drama in England 7 (1995), 145-205;
89. Gary Taylor, William Montgomery on Crane's habits in Wells and Taylor, with Jowett and Montgomery, William Shakespeare: A Textual Companion, p. 619.
90. Anne Barton, “Leontes and the Spider: Language and Speaker in Shakespeare's Last Plays,” in Essays, Mainly Shakespearean (Cambridge: Cambridge University Press, 1994), pp. 165-73.
91. Catherine Bates, “The Point of Puns,” Modern Philology, 96 (1999), 421-38.
92. Laura Wright and Jonathan Hope, Stylistics: A Practical Coursebook (London: Routledge, 1996), pp.99-102.
93. Brian Vickers, Shakespeare Co-Author (Oxford: Oxford University Press, 2002), pp. 337-47.
94. Charles Lamb, Specimens of English Dramatic Poets, who lived about the time of Shakspeare, 2nd edn. (London: John Bumpus, 1813), p. 419.
95. Cyrus Hoy, “The Language of Fletcherian Tragicomedy,” in Mirror up to Shakespeare: Essays in Honour of G. R. Hibbard, ed. J. C. Gray (Toronto: University of Toronto Press, 1984), p. 107.
96. George T. Wright, Shakespeare's Metrical Art (Berkeley: University of California Press, 1988), pp. 213-18
97. Ants Oras, Pause Patterns in Elizabethan and Jacobean Drama: An Experiment in Prosody (Gainesville: University of Florida Press, 1960), pp. 15-16
98. Helkiah Crooke, Mikrokosmographia, A Description of the Body of Man (London, 1631), p. 930.
99. Marjorie Garber, “Out of Joint,” in The Body in Parts: Fantasies of Corporeality in Early Modern Europe, ed. David Hillman and Carla Mazzio (New York: Routledge, 1997), pp. 34-35.
100. J. H. P. Pafford, Introduction to The Winter's Tale (London: Methuen, 1963), p. Lxxxv, n.2
101. Helen Cooper, The English Romance in Time: Transforming Motifs from Geoffrey of Monmouth to the Death of Shakespeare (Oxford: Oxford University Press, 2004), p. 3.
102. Patricia Parker, Literary Fat Ladies (London: Methuen, 1987), pp. 132-40.
103. Patricia Parker, “getting ground” is originally from fencing, “but it suggests both the acquisition of territory and its sexual counterpart” (p. 134)
104. Patricia Parker, The debate over the depiction of Leontes' madness as nursed or new is revived from time to time: Some representative pieces include Nevill Coghill, “Six Points of Stage-Craft in The Winter's Tale,” Shakespeare Survey 11 (1958), 31-41.
105. Howard Felperin, “ 'Tongue-tied, Our Queen?' The Deconstruction of Presence in The Winter's Tale,” in Shakespeare and the Question of Theory, ed. Geoffrey Hartmann and Patricia Parker (London: Methuen, 1985), pp. 3-18.
106. Stanley Wells, “Shakespeare and Romance,” in Later Shakespeare, ed. John Russell Brown and Bernard Harris (London: Edward Arnold, 1966), p. 65.
107. Brian Gibbons, “The Tempest and Interruptions,” Cahiers Elisabethains, 45 (1994), 47-48.
108. James Sutherland, “The Language of the Last Plays,” in More Talking of Shakespeare, ed. John Garrett (London: Longmans, 1959), p. 152
109. William Hazlitt, Characters of Shakespear's Plays (London: C. H. Reynell, 1817), p. 1.
110. Helen Cooper, The English Romance in Time: Transforming Motifs from Geoffrey of Monmouth to the Death of Shakespeare (Oxford: Oxford University Press, 2004), p. 65.
111. Peter Brooks, Reading for the Plot: Design and Intention in Narrative (New York: Alfred A. Knopf,1984), p. 61.
112. John Porter Houston, Shakespearean Sentences: A Study in Style and Syntax (Baton Rouge: Louisiana State University Press, 1988), pp. 210-11.
113. The Arte of English Poesie, a facsimile reproduction ed. Edward Arber, with an Introduction by Baxter Hathaway (Athens, Ohio: Kent State University Press, 1988), pp. 186-87.
114. Eric Rabkin, Narrative Suspense (Ann Arbor: University of Michigan Press, 1973), pp. 54-58; 87-89.
115. F. E. Halliday, The Poetry of Shakespeare's Plays, pp. 31-32:
116. Brian Vickers's perceptive review of her book, The Yearbook of English Studies 1 (1971), pp. 241-43.
117. Tzvetan Todorov, “The Secret of Narrative,” in The Poetics of Prose, tr. Richard Howard (Ithaca: Cornell University Press, 1977), p. 148
118. Kenneth Burke, “Psychology and Form,” in Perspectives by Incongruity, ed. Stanley Edgar Hyman with the assistance of Barbara Karmiller (Bloomington: University of Indiana Press, 1964), p. 21.
119. Norman Bryson, Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press,1983), p. 136.
120. Norman Bryson, The Complete Works of William Hazlitt, ed. P. P. Howe, after the edition of A. R. Waller and Arnold Glover, vol. V (London: J. M. Dent and Sons, 1930), p. 44.
121. Quoted in Stanley Wells, “Shakespeare and Romance,” in Later Shakespeare, ed. John Russell Brown and Bernard Harris (London: Edward Arnold, 1966), p. 55.
122. Robert Scholes, Structuralism in Literature: An Introduction (New Haven: Yale University Press, 1974), p. 17.
123. Wayne Booth, The Rhetoric of Fiction (Chicago: University of Chicago Press, 1961), p. 255.
124. Pandosto, or The Triumph of Time, in An Anthology of Elizabethan Prose Fiction, ed. Paul Salzman (Oxford: Oxford University Press, 1987), p. 204
125. Terence Cave, Recognitions: A Study in Poetics (Oxford: Clarendon Press, 1988), p. 286.
126. Thomas Bishop, Shakespeare and the Theatre of Wonder (Cambridge: Cambridge University Press, 1996)
127. Judiana Lawrence, “Natural Bonds and Artistic Coherence in the Ending of Cymbeline,” Shakespeare Quarterly, 35 (1984), 458
128. The Arte of English Poesie, a facsimile reproduction ed. Edward Arber, with an Introduction by Baxter Hathaway (Athens, Ohio: Kent State University Press, 1988), p. 185.
129. Stephen Booth, An Essay on Shakespeare's Sonnets (New Haven: Yale University Press, 1969), pp. 87-88
130. Kenneth Burke, “On Musicality in Verse,” in which he demonstrates the complex effects of assonance and consonance in some poems of Coleridge: The Philosophy of Literary Form (New York: Random House, 1941), pp. 296-304.
131. John Hoskins, Directions for Speech and Style, ed. Hoyt H. Hudson (Princeton: Princeton University Press, 1935), p. 12.
132. Patricia Parker, Literary Fat Ladies: Rhetoric, Gender, Property (London: Methuen, 1987) (pp. 70-71).
133. Thomas Wilson, The Art of Rhetoric, ed. Peter E. Medine (University Park: Pennsylvania State University Press, 1994), p. 225.
134. Inga-Stina Ewbank, “ 'My name is Marina': The Language of Recognition,” in Shakespeare's Styles, ed. Philip Edwards, Inga-Stina Ewbank, and G.K. Hunter (Cambridge University Press, 1980), pp. 111-30.
135. Anne Barton, “Shakespeare and the Limits of Language,” Shakespeare Survey 24 (1971), 19-30, reprinted in Essays, Mainly Shakespearean (Cambridge: Cambridge University Press, 1994), pp. 51-69.
136. Paul A. Cantor, “Shakespeare's The Tempest: The Wise Man as Hero,” Shakespeare Quarterly, 31 (1980), 64-75.
137. Steven Mullaney, The Place of the Stage (Chicago: University of Chicago Press, 1988)
138. Simon Palfrey, Late Shakespeare: A New World of Words (Oxford: Oxford University Press, 1997).
139. Stephen Booth, “Shakespeare's Language and the Language of Shakespeare's Time,” Shakespeare Survey 50 (1997), p. 5.
140. Jonathan Culler, “The Call of the Phoneme,” On Puns (Oxford: Blackwell, 1988), p. 8.
141. Ruth Nevo, Shakespeare's Other Language (London: Methuen, 1987), p. 136.
142. Stanley Wells, “Shakespeare and Romance,” in Later Shakespeare, ed. John Russell Brown and Bernard Harris (London: Edward Arnold, 1966), p. 75.
143. Stanley Wells, “Preface” to Lyrical Ballads (London: Longman and Rees, 1800), p. Xxii-iii.
144. Beyond the Pleasure Principle, quoted in Bruce F. Kawin, Telling it Again and Again: Repetition in Literature and Film (Ithaca: Cornell University Press, 1971), p. 1
145. Sigurd Burckhardt, Shakespearean Meanings (Princeton: Princeton University Press, 1968), p. 24.
146. Thomas Middleton Raysor, ed., Coleridge's Miscellaneous Criticism (Cambridge: Harvard University Press, 1936), p. 34 (Lecture 3 of 1818).
147. Virgil Thompson, “Music Does Not Flow,” New York Review of Books, 17 December 1981, p. 49.
148. E. K. Brown, Rhythm in the Novel (Toronto: University of Toronto Press, 1950), p. 105.
149. E. K. Brown, Reading for the Plot: Design and Intention in Narrative (New York: Alfred A. Knopf, 1984), p. 123.
150. E. H. Gombrich, The Sense of Order: A Study in the Psychology of Decorative Art (New York: Phaidon, 1979), p. 151.
151. William Hazlitt, Lectures on the English Poets (London, 1818), p. 85.
152. Jan Knott, “The Tempest, or Repetition,” in The Bottom Translation: Marlowe and Shakespeare and the Carnival Tradition, tr. Daniela Miedzyrzecka and Lillian Vallee (Evanston: Northwestern University Press, 1987), p. 97.
153. Marjorie Garber, Dream in Shakespeare: From Metaphor to Metamorphosis (London: Methuen, 1974).
154. Robert Graves, The White Goddess (London: Farrar, 1948), p. 425;
155. A. D. Nuttall, Two Concepts of Allegory: A Study of Shakespeare's “The Tempest” and the Logic of Allegorical Expression (New York: Barnes and Noble, 1967), p. 158
156. Peter Brooks, “The Idea of a Psychoanalytic Literary Criticism,” Critical Inquiry, 13 (1987), 339.
157. Philip Edwards, “The Danger not the Death: The Art of John Fletcher,” in Jacobean Theatre, ed. John Russell Brown and Bernard Harris (London: Edward Arnold, 1960), p. 164.
158. Philip Edwards, Inescapable Romance: Studies in the Poetics of a Mode (Princeton: Princeton University Press, 1979), pp. 220-21.
159. Terence Cave, Recognitions: A Study in Poetics (Oxford: Clarendon Press, 1988), p. 281.
160. Richard Lanham, The Motives of Eloquence: Literary Rhetoric in the Renaissance (New Haven: Yale University Press, 1976), pp. 214-15.
161. Kiernan Ryan, Shakespeare: The Last Plays (London: Longman, 1999), p. 18.
162. Frank Kermode, Shakespeare: The Final Plays, British Writers and their Work (London: Longmans, Green, 1963), p. 16.
163. Stephen Greenblatt, Will in the World: How Shakespeare Became Shakespeare (New York: Norton, 2004), pp. 372 and 378.
164. R. S. White, Let Wonder Seem Familiar (London: Athlone Press, 1985), p. 113.
165. Frances A. Yates, Shakespeare's Last Plays: A New Approach (London: Routledge & Kegan Paul, 1975), p. 19.
166. Suzanne Gossett, Introduction to Pericles (London: Thomson Learning, 2004), pp. 72-73.
167. Katherine Duncan-Jones, Ungentle Shakespeare: Scenes from His Life (London: Thomson Learning, 1997), p. 229.
168. Judiana Lawrence, “Natural Bonds and Artistic Coherence in the Ending of Cymbeline,” Shakespeare Quarterly, 35 (1984):
169. Katherine Duncan-Jones reminds us that in Sidney's tale, after the old king is restored to his throne, the romancer's diction in depicting his death suggests the mixture of joy and despair that we see dramatized in Gloucester's end. “Liquid Prisoners: Shakespeare's re-writings of Sidney,” Sidney Journal Newsletter, 15:4 (Fall 1997), 13-15.
170. Stephen Greenblatt, “Sidney's Arcadia and the Mixed Mode,” Studies in Philology, 70 (1973), 272-73.
171. Lee Bliss, Francis Beaumont (Boston: Twayne, 1987), pp. 57-59.
172. Patricia Parker, Inescapable Romance: Studies in the Poetics of a Mode (Princeton: Princeton University Press, 1979), pp. 35-36.
173. Clifford Leech, The John Fletcher Plays (London: Chatto and Windus, 1962), p. 147.
174. Barbara Lewalski, Writing Women in Jacobean England (Cambridge, Mass.: Harvard University Press, 1993), p. 45
175. Lori Humphrey Newcomb, Reading Popular Romance in Early Modern England (New York: Columbia University Press, 2002), p. 90.
176. Lori Humphrey Newcomb, “Gendering Prose Romance in Renaissance England,” in A Companion to Romance, from Classical to Contemporary, ed. Corinne Saunders (Oxford: Blackwell, 2004), p. 123.
177. Roger Ascham, The Schoolemaster, ed. Lawrence V. Ryan (Ithaca: Cornell University Press, 1967), p. 67.
178. Thomas Nashe, The Anatomie of Absurditie, in The Works of Thomas Nashe, 4 vols., ed. Ronald B. McKerrow, vol. 1 (Oxford: Basil Blackwell, 1958), p. 11.
179. Thomas Nashe, Hackett offers an overview of these critiques, in Women and Romance Fiction, pp. 20-24.
180. Thomas Nashe, The Countess of Pembroke's Arcadia, edited with an introduction and notes by Maurice Evans (Harmondsworth: Penguin, 1977), p. 57.
181. C. L. Barber and Richard Wheeler, The Whole Journey: Shakespeare's Power of Development (Berkeley: University of California Press, 1986), p. 298.
182. Ciceronianus, cited in Patricia Parker, Literary Fat Ladies (London: Methuen, 1987), p. 14.
183. Janet Adelman, Suffocating Mothers: Fantasies of Maternal Origin in Shakespeare's Plays, “Hamlet” to “The Tempest” (London: Routledge, 1991), pp. 235-37.
184. Marilyn Williamson, “Doubling, Women's Anger, and Genre,” Women's Studies, 9 (1982), 107-19
185. Carol Thomas Neely, Broken Nuptials in Shakespeare's Plays (New Haven: Yale University Press, 1985).
186. Alison Thorne, Introduction to Shakespeare's Romances: Contemporary Critical Essays (New York: Palgrave Macmillan, 2003), pp. 19-20.
187. As Palfrey suggests, “to erase the marks of feminine agency because the framing plot is irredeem-ably patriarchal seems curiously unkind to an audience who, as the play proceeds, will have spent anxiety or approval upon just such defiance or self-definition” (Late Shakespeare, p. 197).
188. R. A. Shoaf, “The Play of Puns in Late Middle English Poetry: Concerning Juxtology,” in On Puns: The Foundation of Letters, ed. Jonathan Culler (London: Blackwell, 1988), p. 53.
189. Francis Bacon, The Advancement of Learning, ed. Arthur Johnston (Oxford: Clarendon Press,1974), pp. 17-18.
190. Francis Bacon, “Leontes and the Spider: Language and Speaker in Shakespeare's Last Plays,” in Essays, Mainly Shakespearean, pp. 180-81.