...Phoebe S. Spinrad Copyright © 1999 by Duke University Press 1999 Phoebe S. Spinrad s Claudio is led off to jail in Measurefor Measure, Lucio accosts him and asks jocularly, ‘Why, how now, Claudio? Whence comes this restraint?” (1.2.120) .‘ Unfortunately, many critics pay...

...Lawrence W. Hyman Copyright © 1975 by Duke University Press 1975 THE UNITY OF MEASURE FOR MEASURE By LAWRENCEW. HYMAN Whether we have been influenced by contemporary trends in drama and by new perspectives in criticism, or whether...

...Peter Alexander MEASURE FOR MEASURE A CASE FOR THE SCOTTISH SOLOMON‘ By PETERALEXANDER Measure for Measure has been classified and reclassified since 1875, when Edward Dowden put it with All‘s Well That Ends Well...

...Warren D. Smith Copyright © 1962 by Duke University Press 1962 MORE LIGHT ON MEASURE FOR MEASURE By WARREND. SMITH If any of Shakespeare’s dramas has run the gamut of criticism, it would seem to be Measure for Measure. The theme of the play (espe...

...Darrel Mansell, Jr. Copyright © 1966 by Duke University Press 1966 “SEEMERS” IN MEASURE FOR MEASURE By DARRELMANSELL, JR. When Isabella thinks she has discovered that the “well-seeming Angelo” is actually a “devil,” she cries, “Seeming...

...Helen A. Kaufman Copyright © 1957 by Duke University Press 1957 TRAPPOLIN SUPPOSED A PRINCE AND MEASURE FOR MEASURE By HELENA. KAUFMAN It is a far cry from the Clown-Prince theme to Measure for Meas- ure-from Cokain’s farce Trappolin...

... or vice versa, or whether subject and object enjoy autonomous or mutually constructed existences, the triadic relationship among subject, object, and representation is marked by some measure of transparency. Rep resentation provides a more or less reliable vehicle of referentiality by which...

... extensive middle-period treatments of erotic relationships, even dramatized by the indeterminacy of Claudio and Juliet’s union in Measure for Measure . We have been dismantling this re-formation since the 1960s. In each transitional era relationship and courtship codes shifted, the boundaries between...

... of free indirect discourse and other techniques of point of view registers the contemporary breakdown in labor relations and the crisis for established modes of management. In Ashbery’s mature style of the 1970s, this chaotic play of voices yields to a comparatively measured technology of point of view...

... between Proust’s and Freud’s understandings of consciousness and to measure them against the rival philosophical and psychological theories developed during the twentieth century. The current pluralism in the humanities’ approach to analyzing representations of the mind allows the literary author’s...

... operations, controlled and repeatable experiments, and measurement-based, post-Baconian science. Milton’s Eve sins as the world’s first experimentalist and in effect breaks the World-Soul’s cosmic heart: even as Spenser’s Agape had previously re-created it allegorically, Neoplatonically, and metaphysically...

... and the interpretation of the novel’s character-system as a population. Network analyses of three highly populous works—Charles Dickens’s Bleak House , James Joyce’s Ulysses , and David Simon’s HBO series The Wire —yield measures of social density and character centrality that show how Joyce adapted a Dickensian network...

... pocket edition of Shake- speare-bought in 1817 before he set out for the Isle of Wight and with him to the end of his life in Rome-the most read play after A Mid- summer Night’s Dream and The Tempest, a pair whose choice seems obvious enough, is Measure for Measure. Despite this interesting...

... studied the idea of grace in Measure for Measure, concluded that the poet was acquainted with Catholic, Anglican, and Puritan views on the sub- ject, but that he did not reveal his own.’ Of course he lived in a nominally Christian society at a time when religious beliefs could be matters of life...

... worshipful1 man, sometime a capital1 member of this City” (11.1.13-14) who would disguise himself in order to spy on evil- doers: . . , and what would hee doe in all these shapes? mary, goe you into euery Alehouse, and down into euery Celler; measure the length of puddings, take...

... end, to the severed head of a pirate in Shakespeare’s Mea- sure for Measure, a “grammatical event” in a play shown “to abound grotesquely with parts of bodies” (289-90). The history of Ragozine’s dis- embodied head “tells allegorically” the story of the passage from tropologi- cal systems...

... in the spacing of words and notes; on the second, when there were no more clean pages, he wedged measures into margins and at the ends of songs. Tormenting Fires would thus appear to have been set down during the first round, and To Ellinda on the second--considerably later in Lawes’s career...

... of what one well believes, that Comus’s “verbal echoing is a radical process, a going to the bottom of language” (p. 203), he works an in- geniously found and vaguely plausible verbal echo from Measure for Measure into a centerpiece. Because the single word “viewless” is perhaps Shakespeare’s...

... one, and it is crowded into the margin. The picture, if measured against the lines of the MS, extends from the second line of stanza 714 to the sixth of 716. The index finger of the left hand is in line with the word “peynture.” The MSS are not dated, but Furnivall considers...

... highlighting a slightly different facet of the subject. The real test of Spinrad’s study of thearsmoriendi tradition is its capacity to illuminate the great plays of the professional theater, to show, for example, that Measure for Measure is a product of the medieval “tradition that poses the moment...