...Nancy K. Hayles Copyright © 1980 by Duke University Press 1980 SEXUAL DISGUISE IN CYMBELINE By NANCYK. HAYLES When Shakespeare has his heroines adopt a male disguise, he em- ploys that disguise in complex ways.’ Cyrnbeline, however...

..., The Mer- chant of Venice, Antony and Cleopatra, Cymbeline. By HARLEY GRANVILLE-BARKER.Princeton, New Jersey : Princeton University Press, 1946. Pp. viii + 543. $5.00. This new edition of the famous Prefaces recalls a Granville-Barker whom only a dwindling band of old fogies can now...

... , Cymbeline , and The Tempest , aristocratic inheritance hinges on daughters, or at least initially appears to do so. These notoriously complex plays foreground familial and physical displacement en route to the reunions with which they end. The dislocations are, in part, indebted to the romance mode...

... “to guarantee future stability . . . through orderly familial succession” (p. 142); the “fictional royal family, like the actual Stuart royal family, is subject to and in need of interpretation” (p. 144); “like King James, Cymbeline cannot separate his familial and political roles” (p. 154); “like...

.... As the non-Shakespearean works analyzed by all three books clearly evince, these three writers are exploring the same few acres, though as might be expected each sees a different landscape. Felperin’s plays are Pericles, Cymbeline, Henry VIII, The Winter‘s Tale, and The Tempest. Smith’s...

... was unnecessary. Actually, Shakespeare’s name seems to be attached to only four plays : Richard III, Cymbeline, Titus Andronicus, and Macbeth. In addition, Shakespeare is treated less formally than Jonson. For example, when Richard III was advertised as a benefit for Colley Cibber on April 4, 1704...

... “prospective,” conspicuous, and in Cymbeline even rhetorical. But in the Richard plays and Rom.eo and Juliet imagery assumes importance in the expression of character, although “Shakespeare is still writing in a style which leaves nothing unsaid” (p. 73) ; in the “middle period” we find...

... it is technically so or not? It is the cleared-stage boundary that gives trouble here-since Beatrice and Benedick remain on stage, their dialogue is still part of the wedding scene-and not only here. Hirsh would persuade us that a solo-scene soliloquy such as Posthumus’s in Cymbeline has a special effect...

.... Volume I: Hamlet, King Lear, The Mer- chant of Venice, Antony and Cleopatra, Cymbeline. By HARLEY GRANVILLE-BARKER.Princeton, New Jersey : Princeton University Press, 1946. Pp. viii + 543. $5.00. This new edition of the famous Prefaces recalls a Granville-Barker whom only a dwindling...

.... Yeats: His Poetry and Thought. Cambridge: At the University Press, 1961. Pp. xii + 255. $5.50. Tompkins, J. M. S. The Popular Novel in England, 1770-1800. Lincoln: Uni- versity of Nebraska Press, 1961. Pp. ix + 389. $1.50. Wilson, John Dover (editor). Cymbeline. New York : Cambridge...

... stays to see the harvest,” he has written “unnatural.” In the text beside the fol- 6Nor does it have any connection with the 1778 edition of Shakespeare, in which the “Fair Fidele” at the end of Cymbeline follows the 1765 edition. Philip B. Gove...

... is still part of the wedding scene-and not only here. Hirsh would persuade us that a solo-scene soliloquy such as Posthumus’s in Cymbeline has a special effect because it is a solo scene, different from the solil- oquies of Hamlet and Iago at the end of longer scenes. But are we really so aware...

.... $23.50. In attempting LO “reclaim the romances” Douglas Peterson distinguishes between two kinds of love, surveys Elizabethan, Jacobean, and Carolinean attitudes toward time, and then proceeds to describe “a new mock of imita- tion” that is unique to Pel-ides, Cymbeline, The IYinter’s Tale...

... -I- 259 pp. $23.50. In attempting LO “reclaim the romances” Douglas Peterson distinguishes between two kinds of love, surveys Elizabethan, Jacobean, and Carolinean attitudes toward time, and then proceeds to describe “a new mock of imita- tion” that is unique to Pel-ides, Cymbeline...

.... 19 Up. cit., p. 326. dot all the comr-erltators are so sentimental. Tannm- baum centers his discussion upon Cloten and Posthumous ‘in Cymbeline. Chambers, following MacCallum, considers the Roman plays, particularly Coriolanus. 30 For example, ’vp~r~od,op. cit. ( 1933). 490...

.... Wells: A Record of a Personal and a Literary Friendship. Urbana: University of Illinois Press, 1960. Pp. 290. $3.50. Wilson, J. Dover, and J. C. Maxwell (editors). Cymbeline. Cambridge : At the University Press, The New Shakespeare, 1960. Pp. lv + 246. $3.50...

... of wood on a stage close enough together, and they will suggest order and government. If Timon loves greatly and then hates greatly, Shakespeare has thereby created a gigantic architecture. Posthumus’ dream in Cymbeline becomes “a priceless possession to the interpreter of Shakespeare.”6 Pope...

...) on the causes of the change in dramatic verse after the Restoration. The real proof of Freer’s thesis is found in the remaining chapters, where he develops a systematic examination of the function of the verse in five ma- jor plays of the period-The Revenger’s Tragedy, Cymbeline, The White Devil, 296...

...- boozled Cymbeline, shedding holy tears as lovers join in an atmo- sphere of universal charity. The line, one of Auden’s favorites, echoes through his writing for years. “Pardon,” like “unbam- boozled,” implies reconciliation; the harmony of the dancing bridal pairs comes into being when errors...

... people speak identi- cally the same language. After Babel begins in modestly academic manner, almost as if Steiner were commencing a paper to be published in PMLA, by taking Posthumus’s nion- ologue from Cymbeline (“Is there no way for man to be . . and subjecting it to a close reading...