...A. C. Spearing Copyright © 1992 by Duke University Press 1992 ∗I am indebted to Lisa Samuels for her assistance with this article. PRISON, WRITING, ABSENCE: REPRESENTING THE SUBJECT IN THE ENGLISH POEMS OF CHARLES D’ORL&WS...

...John Hayman L. Spear Jeffrey. New York: Columbia University Press, 1984. xvi + 277 pp. $30.00, cloth; $12.50, paper. Copyright © 1985 by Duke University Press 1985 98 REVIEWS unself-conscious brief works to which he turns...

...Larry D. Benson A. C. Spearing. Cambridge: At the University Press, 1970. viii + 241 pp. $7.50. Copyright © 1972 by Duke University Press 1972 LIONEL J. FKIEDMAN 183 may have already become petrified expressions no longer conceived...

... (-gg With the Conquest this remarkable word disappears alto- gether. As it stands gursecg is plainly a compound, both parts of which are attested as single words in OE. (1) Gar. The first element of garsecg offers no difficulties. OE gdr “spear” usually denotes the heavy weapon used...

...Eric Rothstein Lindenberger Herbert. Ithaca and London: Cornell University Press, 1984. 297 pp. $25.00. Copyright © 1985 by Duke University Press 1985 100 REVIEWS Spear is also helpful in reviewing some topics that have been...

... of the following faults: First, the author’s assurance as to exactly what characters Shake- speare personally approves and disapproves. If Shakespeare has any one indisputable element of dramatic preeminence, it lies in his ability to throw himself sympathetically into any character from peasant...

... closely related to the first, although it illus- trates some of the same principles. In the first part is a very good chapter on “The Mechanics of Disguise” which I shall omit from consideration. In the remaining chapters of the first part Shake- speare’s villains are taken up from six...

..., particularly felt in The kVinlei*’s Tale, or so many other instances in these extremely rich plays that do not fit into his assumptions and formulas. The idea that Shake- speare’s artistic greatness lies in his ability to figure forth moral common- places in emblematic scenes seems unfortunate...

... at Various Periods (New York Scribner, igoi), through Lennox’s biography, Miriam Rossiter Small, Charlotte Ramsay hnox:An Eighteenth Century Woman of Letters (New Haven, Conn.: Yale University Press, ig35), 184- 2 28, to the only post-World War 2 study of Shake- speare Illustrated, Margaret...

...). Shake- speare is not simply Spenser’s “Poet historical” and not simply Sidney’s “right Poet.” He is a poet with “a double allegiance, to history and his own poetic world.. .. ‘History’ places the action in the historical present; ‘play’ brings the past and future into our perspective...

.... This was the most convenient version for reading at home, and it was read by many who had no sympathy with the Puritans. The references to holy water, purgatory, and other Catholic practices and beliefs do not necessarily imply that Shake- speare adhered to the old faith. Between 1537 and 1564...

..., of the theory of “reconciliation” in tragedy, and of Shake- speare contrasted with Jonson, an incisive essay on Hamlet the man, followed by three on OtheZZo and one on The Tempest, a study of Racine’s Phkdre, one comparing Tartuffe and Falstaff, another on the treatment of character in Homer...

...R. W. Babcock Copyright © 1952 by Duke University Press 1952 HISTORICAL CRITICISM OF SHAKESPEARE By R. W. BABCOCK Probably the most important’ type of modern criticism of Shake- speare is historical criticism. Basically, some critics say, it is just...

... their victuals and rest on their bed With fint in the bosom and guts in the head (AP, XVII). It is perhaps a little unfair to both poets-particularly to Shake- speare-to begin a comparison with these quotations; but the slight over-emphasis may not he amiss in restating...

... at the ear of Eve” (799-800). Ithuriel touches his spear to the crouching Satan, with explosive results: “So started up in his own shape the Fiend” (819). The loyal angels step back, amazed “So sudden to behold the grisly King” (821). The line seems to say that they recognize Satan him- self...

... in kind from those of nineteenth-century critics. Where the latter imagined that Shakespeare became so fascinated by characters like Mer- cutio, Falstaff, and Shylock that he allowed them to outgrow their intended roles and threaten his dramatic designs, Blanpied imagines that Shake- speare...

.... But, despite Adonis’ attack on Venus as Lust and de- spite the tendency of many readers to see the poem as licentious, Shake- speare is content neither to join the crusade of the antiamatory moral- ists nor simply to propagate the tradition that has fallen under their attack. Adonis cloaks his...

...; the pattern lies in its clear depths, beneath the sinuous but unruffled surface. Turn to the flow of Shake- speare’s verse; it ripples swiftly by you, clear as in Spenser’s stream, but glittering with a thousand reflected suns- These glittering beams are not merely fanciful images ; they have...

... not involve a distortion of the play. The most contem- porary of Hamlets might even be the most Shakespearean, for the mid- twentieth century has important similarities with the time of Shake- speare. In our age, too, the struggle for political power has taken forms of exceptional cruelty, so that we...

.... That Shake- speare is not a prototype of William Morris or Norman Thomas may, of course, be demonstrated, and it is sometimes a fact worth demonstration to those who sing Shakespeare’s timeless love of hu- manity in all of its departments. Beyond being a corrective irritant to use against...