Reviews arguments for identifying Shakespeare’s handwriting to the handwriting of Addition IIc in the Sir Thomas More ms. and, by reference to the concept of a control as the indispensable requirement for such comparison, finds the arguments not only instances of special pleading, but a failure to satisfy this fundamental requirement. Urges…[Read more]

Assesses the characterization and distinctions between the medieval and renaissance periods, and finds them deficient and the supporting scholarship superficial.

This bibliography is divided into three parts. The first two parts encompass medieval romances first available in English before 1558. Part I includes romances by unknown or little-known authors or translators which others, as noted, regard as romances. Part II includes romances by those who are well known: Caxton, Chaucer, Gower, Henryson,…[Read more]

Analyzes the character and convictions of New Historicism, demonstrates its conflicting impulses and theoretical inadequacies, and critiques Kastan’s New Historical interpretation of “Macbeth.”

Uses the survival of the English chivalric romance tradition throughout Shakespeare’s professional lifetime and his exploitation of that tradition especially in his major tragedies to challenge the commonplace distinction between the medieval and the renaissance on the one hand, and to suggest that his openness to that medieval tradition showed…[Read more]

Uses the survival of the English chivalric romance tradition throughout Shakespeare’s professional lifetime and his exploitation of that tradition especially in his major tragedies to challenge the commonplace distinction between the medieval and the renaissance on the one hand, and to suggest that his openness to that medieval tradition showed…[Read more]

Analyzes Spenser’s Red-Cross Knight and Shakespeare’s Edgar as chivalric knights in the tradition of English chivalric romance, and compares these writers’ attitudes toward the knights and the chivalry which they represent. Finds that, contrary to common interpretation, Spenser is the more modern, Shakespeare the more medieval, in their regar…[Read more]

Establishes the division of characters between Maria/Toby/Feste and Malvolio, and their respective behaviors, characteristics, and values; shows the difficult, though sanctioned position, in which Malvolio’s role as steward places him; and traces Olivia’s (and later Orsino’s) regard for him in that role. Correlates the dichotomy between the two d…[Read more]

Establishes the division of characters between Maria/Toby/Feste and Malvolio, and their respective behaviors, characteristics, and values; shows the difficult, though sanctioned position, in which Malvolio’s role as steward places him; and traces Olivia’s (and later Orsino’s) regard for him in that role. Correlates the dichotomy between the two d…[Read more]

0. Preliminaries provide the usual guides to contents and graphics, and an unusual statement of acknowledgments. It also provides a preface which explains my approach to prevent possible misapprehensions because of its debt to, but also its departure from, source and influence studies. It addresses various critical issues: genre because of…[Read more]

0. Preliminaries provide the usual guides to contents and graphics, and an unusual statement of acknowledgments. It also provides a preface which explains my approach to prevent possible misapprehensions because of its debt to, but also its departure from, source and influence studies. It addresses various critical issues: genre because of…[Read more]

Chapter 1: Introduction provides on overview of the nature of English chivalric romances and an explanation of the historical circumstances of its particular vogue in late Elizabethan and early Jacobean England. It examines the biases in literary criticism—literary supersession and literary prefigurement, and neo-classical definitions of and r…[Read more]

Chapter 1: Introduction provides on overview of the nature of English chivalric romances and an explanation of the historical circumstances of its particular vogue in late Elizabethan and early Jacobean England. It examines the biases in literary criticism—literary supersession and literary prefigurement, and neo-classical definitions of and r…[Read more]

Chapter 2: The Survival of English Chivalric Romances provides an account of the documentary evidence of manuscripts, entries, printings, and adaptations which detail the survival of English chivalric romances. The discussion considers other cultural artifacts and related literary kinds which include materials from the tradition of these romances…[Read more]

Chapter 2: The Survival of English Chivalric Romances provides an account of the documentary evidence of manuscripts, entries, printings, and adaptations which detail the survival of English chivalric romances. The discussion considers other cultural artifacts and related literary kinds which include materials from the tradition of these romances…[Read more]

Chapter 3: The Significance of English Chivalric Romances describes the main features of English chivalric romances: all-embracing idealism; overarching motifs, like separation-and reunion, exile-and-return, sieges, and quests; typical characters: ladies, knights, stewards true or false, and fair unknowns; amatory motifs: courtly love,…[Read more]

Chapter 3: The Significance of English Chivalric Romances describes the main features of English chivalric romances: all-embracing idealism; overarching motifs, like separation-and reunion, exile-and-return, sieges, and quests; typical characters: ladies, knights, stewards true or false, and fair unknowns; amatory motifs: courtly love,…[Read more]

Chapter 4: Macbeth: Loyal Stewards and Royal Succession views the play as a romance defined by its overarching structure as exile-and-return of the rightful and qualified successor to the throne. Malcolm proves himself worthy in the Court Scene in England, where his test of Macduff demonstrates his ability, superior to his father’s, to establish “…[Read more]

Chapter 4: Macbeth: Loyal Stewards and Royal Succession views the play as a romance defined by its overarching structure as exile-and-return of the rightful and qualified successor to the throne. Malcolm proves himself worthy in the Court Scene in England, where his test of Macduff demonstrates his ability, superior to his father’s, to establish “…[Read more]