A study of the manner in which Shakespeare closes his plays PDF Free Download
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A
Srro:DY
OF
THE
?1TAElrER.
Ill
WRIOR
SHAKESPEARE
CLOSES
ms
PTAYS
Goldia
:teno~
Hoffmann
Baoholor
of
Arts
6
University
of
Xsnsae,
1930.
SU.bmitted
to
tho
Department
of
EnSlish
and
the
Fa.oulty
of
the
Gradu.a.ta School
of
the
University
of
Kansas
in
partial
fulfillment
of
the
raquirementa
for
the
degree
of
Master
of
Arts.
Approved
byt
A11t,~st
lO • 1931
PREFACE
It
ts
a
oommonplaoe
of
orit1o1sm
that
Shakespeare
ts
osreless
in
the
unravelling
of
his
plots.
but
so
far
ss
I
know, no one
pers,n
hna
imde e
<u,mprahens1ve.
ato.dy
of
the
manner
in
which
Shakespeare
closes
his
ple.Jsa
Different
cr1tioe
have,
of
course
0
oom.·11ented
u:pon
the
end
1nga
of
tndiv~dttnl
plays;
end,
_ln
the
oonrsa
of
over
three
,hundred
~ears.
the
me.terial
avs11sbla
on
this
subject
alone
b.9.S
assumed
lm.menaa
pxt,portions.
It
will
be
the
purpose
of
this
thes1s
0
therefore,
to
sta-te
the
main
observations
briefly
anti olearJiv
and,
in
the
light
of
my
exammntlon
of
the
dramas,
to
give
nw
reaction
to
bo~h
tll8
oats.strophe
1t-
self
and
the
ori
ttoisn
direoted
et
it•
The
catastrophe
tvill
ba
o
onsideraa
to
inolude
avecy•
thing
whioh
ta.E"...aa
place
after
the
.ollmax
of
th.a
drama.
but
part1ou.le.r
attention
will
be
given
to
the
olosing
~osnas.
The
thesis
will
tnolude
a
study
ot
sixteen
o
omeilies
and
eight
tragad1ae.
the
ohrontole
play-s
and
the
plays
of
.
doubtful
authorship
bsing
omittedG
I
wish
to
aok?lowladga
m;r
indebtedness
to
P:tofessor
L,
E.
Sisson,
under
whose
able
gu.idance
I
was
first
introduced
to
tba
st11;dy
or
Shalraapeare,
for
his
aerly
e.saietanoe
wtth
this
wo:rlt,
end
particularly
to
Profaertor
Lulu
Gardner,
nndar
whom
it
was
continued,
for
her
help
and
the
oarefttl
reading
of
t
ha
manuscript •
A1.1.ga.st
O
1931
Il
IIl
TABLE
OF
OOlITFJt'1
1S
Sl\$~kEH!llear.ia•
s..
Oome,l-~
es
...
•
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•.•
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ilJ
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p,~Jl\Sl1:'i'Y/
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o:~
!ttto,J:~
•
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o to; 41,
.-
•
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;
The
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of'
the
S~rf)..! •
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fu
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veJ!
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oij~
Windsor
\Hf
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•
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•.
tH,t.
t
•••
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4
it
o
itf.
tt ti, :t o
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O
:r.t
r;
IO
(,
1t
!
!:J!d
S:JJ~f2
!:
JU.fth.~
t!l
:Dream
•
·tt
.-
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• • , • • • • a
~.
Fm~e1~119.
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•••
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(i
o
o.
a.
o
~.
6o o
•••
it
t.t
~·.,
t:;
.•
~
·~
Trotlue
and Cresaia.a ••••,•••••tt••t••'•
..
ltJ,;~··
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.
rH'
--
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..
.
1h!
!r•emEe
st
... o
,HH~
••
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o • it o•«o •
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~H,
• • •
~
• f
S11Skeapea1~a• s
T1'*Elged1es
•it.,.,•••
•:1u
th~•
o o • o
o•.•
1
9
9
11
13
1.6
21
22
~
32
3'/
41,
50
59
68
77
81
87
90
Aptom;
g
Cleonatrs
---~,tJl!Hlfd,OQ(t
•.
o,11Cil
102
Romoo
·end
31.111.ot
• •
~
o.~.o «
•,
•.,.
1$,
o
to
t14
o • • • 102
-..
.....
10 .......
st,.,.,,_
..................
,,
.......
r;:re
·.
\ ,t
Xlng Lee.r •
•. •.
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••
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i).
·e.
•
.,.
*'·
.t):.
{to••••••
b
107.
..
~
Raml
et
. •
·O'I
O • 0
••
0 O
o
C •
0 ti
~
1/1
l'l
'1i
•
0 •
~
•
Cll:
0
ti
C.
0
ti
O O
O'
f .111
··•
Othello
~
• • c
fl
O • • e U
ti
h ~u
ij
~
«l
c
ti
UHH~
oo o
ct
fi,
• •
Conclusion·
••
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116
119
··
12'1
A
STUDY
Olr
TIE
MAlUTER
IN vnttCH
SHAKESPEARE
CLOSES
HIS
PLl\.YS
CHAPTER
I
CATA
STROP!rn
Ill
DRiliA.
Before
rIBking any
e.ttenpt
to.
anal;vsa
Shakespeare•
a
method
of
closing
a
pl~.
we
nm.st
str1
ve
for
a a
lear
oonoe:p-
tion
of
tM
term
"oatastrophe
11
snd
of
tho
theor.v
of
oeta.strophe
ln
iira.ma. The 1
t\1ord
1
ostastrophe'
1 when used
in
aran1~
..
t to or1 t101 sm. does
not
neoesso.rtly'
meo.n
d1
easter.
It
may
mean
tmt
0
it
mar
mean
the
reverse.
It
means
to
ti1.rn
u:p
and dom,.
to
overturn"
41 O~tastrophe-
1s
the
word
whioh
desorib
ea
the
final
events 1n
a.
are.ma
-.
such
as
a
death
·1n
a
tragauy
or
a
marrl~e
in
a oomedy
._
•
events
whloh have been produced
bi
~n
overturning.
a ohenge
in
the
diraotion
of
too
ma.in
aotion.
2
The ootHlen~e
of
opinion
among
or1tios
:ts
that
the
oats.strophe
shou.ld
not
be
foroetl
or
artif1o1e.1
1
but
the
logic
nl
resu.1 t
of
all
thn
t
Jw
..
a.
preoeded
it•
the
!nevi
table
oonsequenoe
of
the
ma.m.
aotion.
5
n1t
nm.st
be
1n
living,
vital
union
with
all
the
previous
perts
of
the
play•
end
1
Flem;ng,
w
.H.
0
Shakeanaarat
a
Plots
0
P•
50.
2
11:>1a
J • 0
nm.st
be
th9
outgrowth
of
them."
4
Wlw.t
the
oe.tustrophe
must
bring
about
primr11y
1
a
finality
or
"an
equ111br1um
of
forces
whioh
shall
oonv1noe
us
of
its
pernanenoe".5
Mies
Woodbridge
sugge$ts
tlnt
the
catastrophe
mew
be
"oom-
i:nrad
to
the
ors.sh
of
the
landslide
by
v1hioll
the
too
prectpit,ous
o11ff
regains
a
natural
siope"
•6
"It
is
en
end
of
the
action,·
or
1
t,
1s
nothb:ig.
Eveey
question
suggested
by
the
play
is
answered
rightly
1n
it
as
to
the
past
·end
the
possible'
futu:re
of
tha
persons
in
~1t
•••
,
.To
lieviata
fl.,Jm
t
ha log
!cal
r·esult
is
to destroy
at
one. bloiv
··\.·
all_
unity
e
to
extingu.i
sh·
et
ona ,bran
th
thet
v1
tal
sparlt
of
all.
To
map
out
1
a new
life
or
'to
anggast· a
new
stoty
on
new
lines
ls
woful
wflete-."7·
There
should.
ba
more
oonoentration
of(thotight
and
e,q,xeseto:n
in
the
oatastrophe
than
anywhere
else
in
the
drama..
In
tho
earlier
PJ,rta "of
the
plfir,
much
elaboration
and
working-up
of
oho.rooter
encl ino16ent
era
wssible
o · The
OUtO<>U18
may
l)Otnt
in
IDat'JY'
directions~
l3ttt
BS
\1.78
near
the
olose
0
onJ.8
ono
and
is
poes1
ble
o8
Although
the
apeotatore
cannot
foresee
timt
the
oonolusion
will
be.
they
have been
4Fleming,
Wolle,
S1'..akespeare•
a
Plots.
p.
60.
f\voodbr.ttlga;
!ill1ssbeth
1
The
'nrsme"'
p.
900
.,
..
---
....
6n,1a..
7Prtoa
e
.w
o~
·~
:The
Teohni9Y:e
'..21
tJ1e
D:rama,
'Po
10~,.
8
woodbridge
O
Elisg.beth
0
·!b.2.
Drema·.
P•
91.
t110roo.shly
prepared
'fo!
tli~ ,ma.t and.
ell
impediments
to
its
progress
have
been
rsnoved,.
"The
intense
mental
and
emotional
strain~ a 'pleaasd
e:xpa'otanoy
·1:e
it
bas
oomedy,
pity
an·a,
fear
if
ft
be
a·
trogedy
,·
.oan
be
oontlnnad
to
the
o1ose
onl;V
bf
great
rapiat
ty
·
of'
niovament
o
tientnl
·exo1
te•
ment~ profou11d~ oonoaatrated:feallng.
find
expr'essi.on
1
in
1Qngrirga
whio
h
·1
s
,oonci
se.
in
aot!on&
VJhioh
ls
imm~dlate.•'9
Speeches
:Eftd
eoliloqtties
1n
tlte
oatastr<>phe,
therefore~.
'
'
Sboultf
be
brief
SO
.that.
the
action
~.
b~· oontihuott·S
0
&8
well
\ns
sw1ft •
10
Any
attempt
:at
expla.nat ton end
ocurimentarg
here
implies
either
oriralessness
on
the
part
of
t1:e
eu.thor,
0~
Si
look
of
fatt·h 1n
bis
pr€rpa1~ation·
for
the
md~.JJ.
Altl10ugh
the
author
,sliould
uae
words
sparingly
in
tba
oatastrophe
• lla mast
not
roako
!t
too
abmpt
or
offensively
snaden.18 ·
The
oata~troph~
is
so.b3eot
to
the
general
law
of
gradation
of
effeot,.
and
must
be
in
propo~tion
with
oauea
snd
effect.
"It
must
coma
.to
a
full
stopo
.All
doubts
n1ust·
d1aappe
rr.r
o
An.
earthquake
in
1
tsal.f
and
by
it
self
ooulil
,not
rlghtl;r
end a
play.,
The
end
must
be
orsan1e~nl
3.
The ·oeta.strophe
should
·not be a surprise.,
1tl'Very
movement
.
9
1r1em1ng
,
1
WeRo
6
.sl10kes11aara•
e
Plots
.•.
p-,
50
o·
10
Ib1do ·
..
""
"
llwoo£lbr1dge
0
~~iasbeth
0
The
Drnmtf~
P•
~l.
)2Fler111ng• ;w.R.
1 ·
Shalt:eEmE!,ara'.e
Plots
1
Pe
60;
~
P~oe1J·
WoT-,-.
·~
r1•eobl1icrtta
of~
Drams,
pp.
l09•lllo
.l3Pr1oe
1
W
0
T·~,
12!2,
Teo~inur,
.9!
th~
Drams~·
P•
lllo.
of
the
drana i a
prepared
for,
nni.l.
t!'\.a
more
l)OT'ler~tl
the
impress
!on
of
a tre..g!o
fa.ta.
for
E'tKOO'lp1e
1
the
more
dist!not:cy-
should
its
shadow
:tall
be.olt\vara.
in
the
e
..
ot1on
,
14
'
'
No
new
oharaotara
should
be·
inttttduoed
at
this
point
in.
the
drams.
1
'The
thoughts
aria
emotions
of
the
spectator~.
which
hs.ve
bean stimu
..
lateu
to
the
1nta,,sost
demi,ee.
nm.st
ncYt
~e
diverted
lnto
other
ob9.nnals,~~~5.
If
the
st~i:n
•
~
i
..
1a
1
b;v
reaction,
to
be
a11eviatod
1
tha
relief'
mast
be
· ·
· ·.16 . .
11a
itller
unforceoen
nor
unexpeetaa.
"Aoo1clent
is
no
r,nrt
of
thomttghl~v
drame.tto
materlsl.~'
17
It
ia
merely-
s.
refuge
of
e b1J_ngllng
oreftsnen
and a dav1oe
,!
Som~t!mes
1~
he.a
a
slight
but
&J.ffioiant
oonneoti~n;
with
the
notion
of
the
play
as
when
the
accidental
d1
aons.rga
of
a
pistol
slays
tbe
villain,
or.
vihS1n
the
rioh
uncle
oomos
home
f1"om
India
ln
the
niok
of
time~
But
.tho drc.ttBtto
'
valu.e
of
aoo
itlent
ts
dete:r.r:.1!ned
by
its
probebi'lity
• and .
.
,•,
! . . •
10
aoo
1dent
~e
always sn
spio!ous
and
generel~
faulty•
.
Aey
"m,tlden intrott~wtton
of'.
une2vectaa,. a.~b!tre.ry egeno.lea
to
brb3g abou:t
e.
soltttion
o~
t~
plot
•
••,
suoh
as
the
di~:.
covary
of.
a
mise!ng
will,
or
tlta
flriling
of'
a
lost.·
14~toe
;~
VI.Te•·
.t.1¥t
_!eohniou.o
!J..f..
j:m
Drsmn~r· .
P•
110 •
ll5plemin~~
;,:n~~
SMkes~eere•s .~lo,t~,
P•
60:
16
Ibido
"1:
.....
~1\\1'.llF•
.•
. 1'1:ertoe.
W~T•o
The!eghniqt1.a
~
tho
11~~.,
Po
llQ.
18
Ib
id
i)
I
<'
"
..
. ; '
'.
't
treo.sura,
is
contrary
to
a11
..
rat:tonal
pr!no!plee
of
a.~nnt1o constrnat1ontt,.19
Tho
moment
the
auditors
can
pnt
on
their
v1rape
and
go
homo.
with
a sense
of
losing
nothing,,
tho
plsy
ie
really
.
end.ado
Tlie
attt1'..or
ta
no 1onge~
able
to
keep
h1
a mesteey.
and
he
te
tU'lfortnnate
11!
m.
fi11ds
long·
apeeohes
ne<HlSse.r:,
for
telling.
peroons
of·
the
ple.r
about
heppall.inga
of.
which
the
01,a
ate.tors olro~ny knotJ.
nThE,l
aotore
shmtld
be
,
..
n a
1,os!tion
not
to
inaon,renienoa
the
,.eudtmoe~"2
°
Fina14r.
the
oate
..
strophe
of
a
pltgt
always
means a
change
of
.
'
con
di
t1ona
for
the
p~no!pal
personages.
The
ahsnge.
may
be,
for
example,
f1'>m·
t11:>ub
lb
·to
trsnqtt!.ltty.
f~m
u..n•
h~ppinoas
to
lieppbleeo,
but
ol1ange~:thers
IllU.S·t
b~
.•
~1
.
1.'111~:lng
:now
frc,m.·.or d1t:H3t1SS10?l
of
oateBtroy,ha
in
ganorn;:
to
s.
consideration
of
oetastropha
:tn,
oornstly~
,,e
tiricFthrit
on
the
wl10le
the
aem.e
rt,J.es olrtsb:t.
for
the
one
,SS·for>tho
otmr.·
0(Hll$Uf:must,
of
OOJ.t?'S8t,·hnvo
ll·ha11py
~;
.
.
· 00:rlOlU~<.n'l,o· ·
0
:tn·
D.
broad
S811SO
·t}~ZL;
1
all'
trot
e:nrl.Ef
Wel11
itf
corn~~t,
22
iiOl:8.
striot~r
apis:ikil1€:,r.
ho11Jeve!'t
it
ts·.
the
egrooubl.0 d1santanglament.
of
a
p.eaaef\11.,
orderl~y,·
divert•
ing
oompl!oation
of
Pttrpoaos
tvhioh
consti
tutee
·the
. 1
...
t
:"'
,·:,
•?'
...
7'111Fttr
rt
ca.ta.strophe
of
oanea.y.23
The
oriU.:nary
olose
in
001:3ecty
comes
With
the.
e:nnounoe•
ment
of
a_
prospeot1ve
wedding.
·or
with·
the
reoor10iltat:ton
·ot
loverse
Representing
as
1t
does the completed
reealts
of
the
intri.gu.er•s
plane
and
tm
total
overthrov,
of
the
viotim,
the
catostrophe
should
oome
at
once upon
the
re•
.24 . .
·.
'
movel
of
tba
ls.st
obetaole.
It
neaa
not
be
oaueally
detaxmined
by
what
l1r1s
praoedad,
howeV'er
1 beoo.use
causality
is
nowhere emphasised
ln
the
eot1on
of
oomaey,
ohanoe
m.ey
reasonably
determine
the
ismie
in
oomec1y
•
20
"Whereas
trsged1
must
be
fimle
comedy need
not
be
more
th~.
prov1s1onal;.
it
t?ffere
a
solution
only
of
the
epeo1f1o
problem
presented.
·Not
that
tts
oonoltud.on
is
bound
to
be
:provisional;
this
will
depend
partl;v
upon
wl:at
. . . . . . . .
...
.
·,,2&
has
been
the
underlying
pnrpose
of
the
intrigue.
An
air
of
oonolu.s1veneaa
is
often
given
by
a sweeping
moral
regeneration
of
all
krle:ves,· tald.ng
plaoe
~n
the
last
aot,
bttt
this
1a
uooa.Uy
speotous
and
unsattafy!ng.
But
1n
eny
oasa.
the
oe.tastrophe
in
comedy
ts
al,vays
qu1
te
different
from
the
fu.ndementsl
eJ1d
absolute
read.jttst1nent
in
the
trua
25
.
Ibid.~
. .
.
24
woodbridge,
Elisabeth,
Tha Drama. p~
146;
1tanneq1:1,1n,,
Alfred,
T.H~
lrt
of
Pl.al.Wr1tin~f)
PP&
13'1•8•
25
..
· · · · ·
Wood~r:J..iige•
Elisabeth,
The Drams"
Po 146
4
26
Ib1do
.
.
,
Just
&$
comedy
requtree a
ba1rpy
denouement.
so
e
tragedy
mu.st
hnve
e.n
inevtte.b~a
bttt
Just
end
trasto·
·
ending
•
28
The
6.eeth
vot
one
or
more
of
the
o baraoters
le.
tha
~1tt1ng
close
for
tha,trageay,
beoe.uaeit
:rea.llJ
com.eludes,
It
le
fimlt
,tt
preoludes
sny.
posalbillty
of
amen.bent
or
re•"
·'
prteva.
The
tragic
oharao'fter
o:f
death
depend1.notupon
iea.th
1
tself,
l10wev!r,
b1it
upon
,tha
nat~e
of
the
action.·
which
1t
termin~tee,,,
It
is
tragic
only
when
1
..
t
oomos
a~
tha
natural
End·
inevitable
ou.toome
of
a.
traig10
st~l&,,
29
It
must
be
the
result
of
sane
eotio~
or
tm1t
intimate~
connoo·terl
with
tlie
oheraoter
vrb!oh
renders a
hawy
ending
out
o:t!
·tlle
·
question,
The
tthsrsoter
mew
oanso1ou.s~-
i11ol,nt a e
sooial·or
6.1vtne
law.
Ha
may
commit
a
fault
u.n-
·
vdtt1ngJ.y.,
or
he
ma.y
·even
believe
tl:st
ho
ia
O!l:\y
doing
hta-
duty,
In·
mS!ly·
oases.
tba
tr~Jgio
:rssalt
is
due.
to
some
defect··
o:r.·
oharaoter,
es#
fqr
example.
1.rresoJ:ntion.30
Under
eny ·
of
thaee
otronrustanoae,
the
.death
itself
will
oftsyt
aotua.ll,y seem a
raliet,
Not
only
has
tt
been
felt
to
be
·inevt te.1,1e
~
b\l,t
:t
t
elso
ends
the
·
struggle
a.
nd
ao
·31
relaxes
the
strain
of
axpeota.tion.
27
Ibtd·
,tp;::cl;
pt
,
tt
.
·~.
. . .
~
; " '
28
Pr!oaa
w.T
••
~
~eolmique
S!1.
tbs
Drama!'
p
..
194"
29
Woodbl'idge•
Elisa.beth~
~
Drama;
p<)
88,.
.
50Henn~quin._A1fred, The
f.,.rJ;.
of
.Plsil!1r1t1n§t
P•
136.
3lwoodbr1dge,
E+~sabeth,
.The
D1'jama,
PP•
88•89.
··JI,
Another
:asy;eot
of
the
aatastrophe
of
tragedy
!a
b1•
volvea. ·
in
tho
so•oalled
the6ry
of
1,oetio
justioGo
A
clear
eonoep'eion
of
this
subjeot
1 e l:mli
spenaable
b1
the
·oon..,.
eiderotion
of
Shakas1,aare•s
tragi.o
ooncltts!onao · Tha
doeo
t1-1n0
of
poatto'
justice
(t
in
wll.ioh
'tlle
men
·of
the
eighteenth
oentury
particm.larzy
tlaliglited,
:prsatior:;13.y dEmsnils tlu.it
·the
d~ma
ahe.11
be
overtl.1_ ataactlo~ the~ 'Virtue
shall
be
rewai~aea
and, vioe
pnnished.
Snob a
solut
ton
in
drama·
•.
howav~er, 1 s·
mo~
in
a.co
ord
iv
1·tch
what
we
should
lUta
to
bsve
trner
tlnn
w
1t11
wliat·
vie
lmow
to
be
tru.e
in
life.
we
ell
know
that
v1oe_
iloes riot a1waya eomi
to
e..'
bad
end;
:i.n
this
world,
and
tblt
the
i~oce:nt
as'
well
as
the
g"ttilty
pa;v'
the
full
paialty
of
dee.tho32
Wha/'b
consideration
of
justico
0
for
exsmpls • is•,
there
to
bear
on
the
'death
Of
S.
little
child?
Justice~
~bent
1S
on~
~ne
··ot
the
dete11ninants
of
fate
ill
the
dl?S!ns.
And
"in
a.rt. v1here
tbe~e
ts
no m1et
of
individual
feeling
·to
blind,
the sen.s~ o.f
beo~ey-
f;.
in
a.eath)
oomes ·out
stronger
t~n
the
sensa
of
loss,i;
,.
3
S·
-.-...
........
-.,...._......,__..,_.....,..
________
...._....._
__
........,~_
52 . · .
Matthews,
Brander;;. Slmks
ra
.!l.@.
!
Pl~r~e;ht
O
p~
228; ·
· · Lounsbury.·.1..·ToR•• S espeax:a
.f!2
rnremst!o
Arttet.
1)6
4ulo
··
5
3Mou1.t:in.,
lt~,.G.~
She.lt~a:paa:!.".!
2
~
.Dramat1o
A:rtist
•
P•
S57.
·~
-~
'J
~
.
Parhlps
the
tilost
noticeable
thing
about
the
catastrophe
1n
Shakasp~are•s·
c~medtas 1a
the.
vst1ety
of
wa.js
1n
whlcb
it
.is.
aooomp11shett. Sometimes Slt..akespeare
brings'
a\1>,
·n.t'
.the
~olution 1n
the
oonventione.l.manner;'
s'omatimes
he
dis•
ragarde
entirely
the.laws
of
a:rarti~io teolm'1que'when.
he
·
domes
to
the
oloseJ
of
a
play.
Vlh1le
there
are· resemble.n~as:
ln
details,
between'
the c endings
of
the
different
ocmadies,
Shakespeare seems
to
have
no
one
method
of
oloa1ng
a
pl£W"
' .
tmt
may
be oa11ed
his
om,...
Althoush any
olasstfioation
'·of
the·
·oomelU.es
aoaordl~:
to
type
of
enal ng
will
ba more
or
.less
arb:ttra.17, such
a.
method
w111'
be
tts~d h~ra for,
thej
sake
o £oonitenienoe
end
....
·r.
hope
-.
clearness•
. ~ha
.~oma,6~
.t'lt
Erz,ora·
~
iJ:.~a
,-,a1n111s
.2f.
~
.Sb.re]! .
. . .·
..
Ad!s0t1.as!on
o:f
ca.ta.strophe 1n
Shsksspeare•
s,
comedies
'ii,
mny,w~l)
..
be$ln
0.
J:
th1n1c,
with
the
tvro
fe.roios.l
ool!ledies,
~.
!!ome9:r1.
ot
Errors
~d
!bst
Tnm:tns
P.!
the
Sh£.m:u
baoeuee
no one,
so
far
as
:t
know$
objeots
to
their
enfU.ngs on
the
aoo
re
of
oonvent!onalt
ty
.1.
The eloae
of
The
pomedz
flt.
pl~OX:f\
1s
really
aw.ntrabl.y
man~ea.
2 Granted
that
there
~ould
be
two
such
patrs
of
' ' '
~ ~
'l
.,-
.,
''
twins
in
th9 aituatlona b1
\Vhioh
·
the
Ant1pho1us
a:na..
'.
1
5:heler.
Alwin,
"Sh9.kepere and
the
Unhappy Happy Ending"
0
~b:f:ioe.t
ions
.
of
,
the.·.
_
r1\0d8I'l1
..
m~11
e
·_JH3BOC
i
ation
~
2 · !mer1Ctl0
KLf!TSepto,
i92'1) »
;p~
.
fl.
!bide
Dromto
of
Syraonse
snd
the
Jintipholua
and
Dromio
of
·Ephesu.a
find
thamselvas
1
the
simplest.
most
Datural
ond
most
fm1da100nte.l
relnt
ions
of
11.fe
become
a.
olisos
.of
00111•
3,. '
'·.
''
' ' .·.
,,
.··.
plextty,
ana
d1sputae
.D
1
rom
the
tima
tl~~t
Antipholu.a
of
symou.se
very
imtnrel~·m1stakea
Dromto
of
Ephems
for
his.
own
a(;1~ant 0
Dromlo
of
Syreouse.,t
and
vloe-versa.
Smkespsere ·
piles
one
en1ua1ng
oomplicatlon
upon a
..
~ther
u.n•
' ' ' '
/1.
' ' ' •
til
the
conclusion
seems to
be
upon
us
any moment.- ''The·
wifE>
miatakea
I1ar
11.t\aband.•:
the
fflB.ster
hie
servant.
ana
tlle
ss1Vnnt
his
mnster,
the
s1ster-in•lat1
hat*
b,x,ther-1:n•law
•
. the_
friend
his
fr1ena, end
.£ine.lly
even
the
father_
hta
.
so:1-"
5
And
!
t
ts
only
\'7hen
tha
two
pa1ra
ef
tw1ne
coma
·
I
',
' ;
•,
\ •
:re.ca
to
fa.ca
that
the
cfonfuaion
ls
fine.Uy
olanred
aws:JT
end
the
tvJiua and
their
tether
eil(l
mother
e.ra
all,
reunited
atter_years
of
aep~ration.
But
even hers,·
in
the,
final
eoana0·Shskaep~ara.
hti'
a
few
bri.et
lines
bsppi~
oausas
l
l'>romio
_of
S;v~~as
again
to
m!stalte
Antipholus·
0£
EV~esue
.
''
'
',6
'
''.
' ' '
·.
'.
'':. . '
for
hl.s ma.at~r. The
mistake
is
oo:rreoted
tnstan
tl.1,
howev:ar,·
e.nd
the
ou:rtain
fells
as·
the
two
Antipholuses
!leave
tba
stsge
togetha,1".
Shakespeare does
not
e.ilovi
the
interest
to
flag
one
seoond
while
he
draws
tI1a
th.roads
of
his
story
together
o
~~
Oome§z
of
Errors enlis
on~
when
the
"erro~n
1s
removed
by
the
oomuig
toset.her
of
the
two
pairs
of
twtns.
Antt
as·
soon
es
thla
ts
~ooompliab.adt
tl1.e
l)l~
is
over.
Evecyone
is
acoountea.
fo~.
a.nit
there'··1a
nt>
taason
for
keeping
the
audience
long
ere
Turn~ng
from
!~
p,omedz
,o~
Errors
!9.
The
~.aminS
J'l!
the
Shrew~
we
encounter
the
first
a:ttt1cu1ty
tnvolvea.
1n
~'
'
..
our
olasstf1ostton
of
tha
endinga
of
the
©medias.
In
some
respects
the
oato.etrophe.
of
The
~a.mms.
of
the
shr~t?
ts
more a
catastrophe
of
the
sub•plot
0
which
oenters
about
the
wooing
of
Btanoa
by
Gram.to
It
Hortens10
0
ana.
!noantio
• ·
than
it
ts
the
oatt;J
..
atropha
of
the
wrole
pla;r.
Whan
0
fo:r
'
lle
tnstancu;,
,t
in
the
fifth
soane
of
aot
flvE),
Y..e.thar!na
says
the
sun
ts
t
ha
moon
if
Pet1"QGhto
says
1
t
i
s
0
we
feel
sa.re
that
the
"tamintt'
of
the
lady
ta
complete•
After
that
ou.r
attention
shifts
baok to
the
oharaoters
of
the
mb•plot
for
a v1h1le.
.
' ' '
/
From
still
another
po
1nt
of
view•
the
deno~ement
of
'J.'ha
Tam1na
of
~
11~.
spp~_r.
ls
a
b
1.
t
antt•ol
tmsoti
o•
of
eou.rset
the
play
does
not
olose
with
the
marriage
of
Xather11U\ antt
Petruchto
•
--marrlege
1 s
only
the
starting
point
for
their
little
ararna,--but
neither
does
it
oloee
with
the
marriage
of
Bianoa.., ·
.And
yet
this
is
what
we
fJhoo.ld
expeot
O
beoause
tl~:e
rl
val
lovers
were
onl;v biiU.ng
the
01.1:tooma
of
Petrnchto •
e
wo
ob~
b
afore
tr.ring
their
sohamea.
for
saouring
tb?J
h';llld
of
Btanaeo As
it-
is
..
hOW;-
ever.
ona
v1hole soene.
i_s
yet
to
come
after
the
marriage
• ' ' • '
•.•
'•
••.
,..:.;i::
of
Bianca
and
Dttcentlo has·
beet.,,
oon&..unmsted-e
The
entire
last
aoene
or
aot
five
1s
take~
up
Witb
the
wager betwse~
Petrn.ohio,·
Rort~sto,,
and Luoent1o
to,
aae·
whtol1
one
o~
than
ha.s
the
moet
obaiUent
wife•
It
happens
that
it
is
Katlle~tns
who
comas
!n
nt
Pstru"ohiQ•s
' • • •
~
• '
..
• • • '
~
,.
'
,-
• l
~
' '
roquaet.
~hrowa
down
her
oap-beoause,lt
does
not
please
..
.,
~
·.
.
:]
..
. .
.
'
.
him,.
and:
finally-
tells
the
other
wives th.e1r aut!~s to
.
'
.
.
'
blenllean
a.a
it
l~
wttb
the
eub•plot.
wllioh
makes.
the
eno•
•,
.
l,
,,,.
'
tng .
of_
,!.h.£
!,am~fllt
!J.!.
~ll9
Shrew berth dramat!<J~llJ?
efrect1va
I
and satit3fytl'l8. Ira.thertne.• s spesoh
la
l~nsth;v' • coming
as
tt
doas
at
the
very
olose of:
the
plaf,
\Vhen.,
everything
ahou.la.
be
!b.a~tantng ·
to
a~
end;
bnt
J?etru.o~!o
hss
oormnanded
·
her
to,
spealt,
and
fa.~
be
it
'from
na
to
interfere
\Vi.th -hie
· instra.ot1on!3
or
to
lteep
:©9.therina from
doing
her
task
well\
J?era«ox1oal
as
it
ms27·
seem~
Tha
!.E:Jl\t~~
.o.!
~
shrew
1e
both
oomplete
a.na
1noomplate.,
It·
ta
complete
if
-we
. . ' . . ' t
hr~,
oonoern
ourselves
onzy
with
the
play
wtthtn
the
play
0
'
.
VJ}lj.oh
·gtv~s
the
drama.·
1~s
nt:me
•
But
the
1;1auotion,
wbloh
!ntrodu.eea
tha
oh9.ra.oter
of
7
Sly
0
adrtt..,:ikard
who
-is su.prosed
to
be
watoh1ng
the
play
.•
ts,.
neither
developed
nor
finished.
B~~der"i.tra:tth(;lwa. spanlts
·of
m
meona'
s1ngen1ous
~.ggest1otl
tb'at
S~kespeara
omitted
,
the.
later
soenes ·
of
the
·
induct
ton
e,nd.withdrew
8:Jzr
f1')m
tha·ea11ory
above
ffso
tlnt
t.t
~might
be
fx:ea,
..
· when
t1'..a.
t
1me
·,oame,
fo~
tl1e
J?e,iiant
,to.
look·
ont Qf
'''
';
.·
',
'.
,.
'
''
. .
the
wb1dow.
Bu.t.
I ·th:t:nk
it
ts
just.
es
like,11
t~at
Shakespeare became
so
.
tntareatea
·
bl
:Y~ta. and Petruchio
tll!l.itl}e.to1~sot:a;1 alH)ttt
.Sl:v;o
Certain
.tt
is
that
.·,;1e
never
think·
of·
hlm
ul'!ti.l
S>ms
ttma
after
tl1e
play
!s
ov.e:r
and
we
.
are
:raaalltng
!ta
earl.ta1· ·soenes
•.
And
at
least
one
modern
present~tton
ot
the·
play
omits
the
tnduetion
entirely.
;
..
·.
.
l)ist-ege~ding
the.
1nduat1on~-
then,
the·
oa~oet~ph8
ot
.Whan
.']!amin.!t
s.t
l·~-
,S
1
hre:w
1
is
qtltta
rotlsfsotory.,
Th¢,
encU.t\8
is
not
undti:cy,
a.rsvm.
ou.t
e:na
tl:e
.two
plote.are
merged
effeottvely
enough
1r.t
tl1.G
f1tml
saene
so·
t'.hot
the
'sub-plot
does
?!O
t
~eem.
~veremp~ma~rui~.
nor
doe
a · the, ·c·a~sstropha
seem
on
ti
•cltmaati
o
•.
The
oatsetrophe
of
Sht1lceapaarE)
1 s
third
farce
•
.2:ll!
l~ea
:t{J;tefJ
.J~
Yt~n4eo;t,
aoea
not
diffe~
much
from
the
antt•
,.
ing
of
the
other
feroes
exoept
f,o:r
:·the
elt~ht
emp'.ble,ts
.--~~
th.e
stlb•plot
a,t
the
.veey olose
of
the·
pla.f.•
T1"..e
matn
plot
of.
t1'~}!~~£t,.W.!Y.e.~
S?.t
Y,,~n~.e.s,.t~
1e
sk111:fully
:U.nlted
v,
tth
the
attb•plot•
·
just
e.s the
two
s,1':J
3o1nea
in
!!!2 T!1mintl'2!
play
on
Fa.lete:fS?,
tho
trtek
in
wllioh
Anne
Pe,e;e
and
!lfr•
!!'ord
nla,
parttoip.ste,
reau.lte
not
onlY
1.n
the
complete
011ttVitttng
of
Sir
John
blt
~lso
offers
a
splendid
opportunity
for
tha
obd.uotion,
of,
Anne•·
Whan.
therefore•
tlle
Fat
Knight'
a folly-:
la
et
ls.st'
a:q,osad
to
the
,pub
lie,
tho'
trtek
tt1.rna
on
those
whoi
havo
scorned.
anc1
rldiculea
Falataf:f.
Slender.
whom
Mr.
Page
wnnta
Anne
to
:marcy,
re•
turne
tcL say
"'Ghat
he
almost
ma'r".rt~d,
a
postmaster~
a
:boy•,
,
who
was.
dressed
liko
e.
,fe!ey
and
whom,
he,
mlsto,ok
for
~nne
o
Dr~
Catus,
-
?iI~s.
Page• s
ohotoa
tt:>r
a spn•t.n•la\1,.
1'Jls
ltka-
vitse
.run
_of~vr~th
,a
boy who·-he
thought
wes
Am1a.
·.
And
11han
lin:is
fil'lal;Y
raturns
aa
t
ha ·
bride
of
~an
ton•
whom
riei
ther
!Jrr~
or,
Mra,.Page
\Ve.nted
Anne
to
ma~,
we
e,.,.e
inol!nod
to,
agree
with
Sir·
Jolm, .
..
11?
C1'A·
g:tad,
though,
you.
·11!?
..
ve
ts'en
a
s11eo!~l
.eta.ml.
to·
st:rilce
at
me
~
that
your
o.rrQw
he.th
gl,ano
oa.
n
8
:arena.er
iratthe.wa
·
strentiously,·objaats
· to
the
1nd1gn!ties
whf.oh
at'e:
heaped
upon
Fe
..
lstaff'
s
"httrf.SG
bulktt.,
,
Ha:.
~~ ~~
not
t~it1k
.~hat
betng: beriten end
bamg·
'O~~rled
to
tlle
~1ver
·bl
a.
bttok•baskat
fttll
of
di
rt,J
linen
ere
f1
t·-
punt
Bllt11e.:nt·a
for
one
wlnm
we
oeJnnot
l1el11
liking
deaplte
all.
hls
foib·les.·
Even
.
if
,
he
deserves.
au.oh
gro
~e
defi'lements.
Mr.
:Matthews
contt11Uea,
thatJ
seem
011t
of
keeping
vit
1th
·hie
genert?ttB·
hu..mor.
Thei
Fe.lateff
whose
pr1ma
ftmct1on
in
l!en~
IY,
is
to
fo~i-'
ot·11er·a
ta
himself
unoeaslngly
befqoled
in
The/
:
'..
,'
:. ' ' ·
..
' ' .9·
...
'
'•.,
'..
.
·.
''
.
Merrz
Wives
of
Windsor.
Bu.t
wh11e
Shakespeare
may
appear
to
'be ~nfe1r
to
:Fslstat:i
1n
the:
1tglit
of
oU-
eafl1a:r:
con•
(«Gpt!~n:
of
)1.tm,
'h~
ao'i1S
n6ttreat;
him
!n
!f
mantl~r
ivhtoh
18
lnoongX\tou.a
with
'the'
1d.nd
'.()£··a
11fs'.
l~d
by,
falsto.ff
.!n
.,
''
'
• '
~-
• , .
':_
' ·: ' ' ' ,, ' • '
••
- .
',
·1
; . .
·:
. • ' : '
!
1.
< : .'
'.
.
·;
·.
_'
' ' '
··.
'.
\ ' '
'.
'.
'•
. ; .
'•'
t,
.
~
~Pl10·
1J!e;i-~t
Wives
S,;f..
WttuitioJ:• Moreover•
his
w1:to
~e.
not
~-:
'•)... .
'.
: ;
...
' > .
/,
'.
f,_
~
I ;
·:.
' ; ' .
'.'
/.
,
'·:
.,.
', )
_:
:· '
;,'
:, , . /
,:,
lo;
JlOW
Wllrit
thGy
'have
'been.
mlU
·:VEl
era
IDOJ:
11
8
lnolined
to
laugh
.
et·
hiin'tlihn
'to'·1augh
witi1
him.·
·,
·
·.
·
'.Atu{:nbtwlth~tcmatng
~t1w
i~ct
:·tbht
·
si1ak~s:v&a.ra
\trt•
q~.est'ionabfy
·wrote.for
the
E11znbetb1n
.playgoer,
·v1ho
does
not·
seem
to·
lmve
})0SS8SS8d
the
sympathy
·£0~
-~
or
;beast
that
the
modarn ·playgoer does~
101
t ·
eaama
to·
ma
t"bat
$hakesyjen.ro
. has
softened
Falstaff'~
fotr, a
shade
oi,
two
·.
b;t
't~l\')wirig'
the
final
empbasi's
upon
the
marriage
of
Anno
:ease
•
..
Tha
catastrophe
of
~..1he
Me!fi:?:
Vl!.vsa
of
Wb1<1sor
leaves
~
............
,:;,-
.
_.........,............,.........,.
several
l~t.Hle"
ends
t litre
a.
Qi1!0It~
t
VJ
no
eq
ta·
as
a
S~•
bet\vaen
fol.,
at
least
fi~e
parsons,
simpJ.w
drops
out
of
tm
pl.a~
af·ter
shE>
a:rranges
the
last
meeting
batvireen
·the
Merr.v
Wives
.
and
Falstaff•
'And·
the
1'eta11at1on which
Parson
Evans
and
Dr,
Caiu.s
promtss
mine
·boat
of
t·ha Garter.u.:pon
h1$
1ntar•
ferenoe
·w1
th
thaU.• qt1.atral t.s
ne'Q'et
effeoted
".
E~idently
0
1~
all
the
8'$CJ1
tanent
o:i?"
extlOatn~{
str·
3ohn
to
ptl.blia
••
..
)l,P:i8n•
ta
q'
fl
"rt,
.
-·
zit
..
'*
dllN
1
··-
t ,
I
±.
.J,
n,s/cJj
1.
9Mattbevte1 Drander• Shaks;oa~q
A.~
!!z.
Plawzr~h~.,
Pa
136•
lOibtd.
ridiouleCJ
the
IJ9,reon and
the
doctor
forget
to
exeouta
:.,
their
own
plan
for
revenge•
Before
passing
on
to
Twelfth
NiS\l~
•
v1e
should
pay
some
attention
to
the
dl\?ll
fairy
danoe
wh1oh
o anes
near
the
olose
of
~
Ji!.er!Z
Wives .2,! \Vlnllsor.
Although
it
ls
to
be
compared
with
the
masque 1n Love• s
~b.0'11'~t!
Lost
ana
the
perfoman
oa
of
''Pyrenn.1.s
and
Th1sbe1"
in
! Midsummer
:tn.ght
•
•~
Dream.
it
differs
from
those
final
en·tarta1nmerits
in
that··
it
has
n
mu.oh
closer
connection
with
tlla
plot
of
the
ple:,•11
It
is
not
inserted
merely
beosa.:ae
the
author
hes
xu.n
out
of
material
and
wants
to
flll
up
time;
il
affords
the
opportun~ty
for>
the
so1ut1ori
of
both
tlw
mo.in
plot
and
the
Stlb•plot.
Twelfth
Misht
ts
the
best
e~e.mple
of
a
oomeily
1n
wl'l!oh
Shaltespoara
centers
the
final
interest
about
members
of
..
the
so.b•:plot,,
Indeed
1 t
ts
this
veey
oharaotar1
st1o which
subjects
the
oonoluaion
of
'I'V1elfth
~Tight
to
~tr.
oeohell'ldluser•s
unfa'Vo,.-.a.ble or1t1oism.
The.
~eiman
oritlo
feels
tbat
the
resolution
0£
the
oanio
episode
of
:Malvolio ,
thrusts
1
tsalf
:rath)r
painfully
upo~
the
two
loving
OOU.pleS
1
VJhO
"have
just
raaohan
the
threshold
of
their
joyoua fraecom
whioh
must
ranatn,
throu.gh
this
?iew
inotdent
0
lfo,,
uneettle(l
ln
the
b$lenoe".
12
Ba.t
does
the
oatsstropl1a;
as
S11ttk~epeera
handles
tt
at
this
point.
really
ob)ok
their
.
Joy?·
Ollvi'1a
an.a.·
sebe.stte.n .~re
·tl~anay·
oor.rtreotecl
in
ma.rrlege,
.and
the.
Duke
intends
to
-me~ry
Viole
se soon
as
ahe 1mts
o_n
nworarltl
•
s·
_W(;G,di3".
·
nu~
.the
oa1)ta1n·
lns
Viola'
a
o
lothes
and Mal-ttolto seems
~o
..
~Ef
.tlla_
one
v1ho
is
sequs.inted
with
the
oopts.in' a whereabou.te.
:B1(nr
·tb$~t
~ea
son.
the
lovers
must
await
the
outcome
of
.the
oomto·
oomplioetlon
. '. " .
~egardlass
of
whether
or
not·
they
are
lntt1rested
ln
·
tt
•
And
tba
oonvereation
ot·
o:U.11!a
end
the
Duke.
whtch
ensues
wh!.le
lt':!.lVolio
18
bet
ng
atttrn:1onaa
0 mu.st
neaassarily
be
interrupted
While
Malvolio'
s
oaae
is
being
ftntshod
ot:f',
Vlhoi;har
or
not
one
teals
'thst
the
tralvo11o
ep!sode
ls
in
~~.e
p~,:,par_·
plaoe·
in
tl1a,
final
r:nene
de11enc1a.
I.
thtnki
·upon
h!s
conoep~ion
of
the
oliaraeter
·
of
:M.alvo11o.
, Oons1deratl
a.a,
a broad
oomto
ohar.aoter,·:ha.ls no·more then
a
o~oeited
~rt
tan!i\(
who
prtde.a
b.1ms,alf upon
hie
virtue
ana
aaver1 t;r • and '1Jho
~
s
ma6.e
·
tha
laii.ghtne;
st
ook
o.t
the
intrtgnes
of
the
Olovm•
Marta~
encl
Fabian!'
In
thie
case,
ha:reoa1vae
,11·ttle more
than
bia
ju.st due.,.
Bat.looked
u:pon
wU;ll
more
aanttment1>.
·MalvolU,
seerna
to
be
1
uleft
· high
:'-18.
and. dry
tn'
too·
encl'",
1
3
anil'.
his
feta
is
h.'1.rd~
the
f
ittins
note
upon which
·to
close
s:i
otherwiaa
l1ght
oomedy'
•'
·
...
Paracnally:•
I
thinlt
:Malirolio
is
a
broad
comic·
ftgureo
· ·Sh0.keepae.1"e ocru.ld
not
v1ell
11.b-,,,,:
deferi--ed
tlle
·a,nouemant
of
the
main
plot
tmti'l'
after
ths'l!alvolio
plot
vJae
·sett1ad•
1ta
·
hes
pro
longed
tm
susP3tI
sa
as'
long
ns
possible
•
Tho'.
Duke
is
angry
with
Vioht
becau·se lla
thinkt,
she
is
a·
.eypo~
o~tta,
Olivia
believes
bar
hu.sbrind
bas
left
her,·
and
Viola
is
deserted
by
tha
man
whom··
she
loves.~
A::r;y
fu.rther
pm-
longat
ion
of
u1i'oerte.inty
abortt
t·llS
solntlon
.wo·u1d
have
been
mi
sto.ltan
teolmiqµe
•
Shs.lte·apes.re, therefor(;)t.
b·egina
the
final
resolution
qu.ioltly by
1•81U'li
ting
Viola·
t~nd
Sebastiano
14
Than
he
ta
·~esily·
to·
turn
in
·
the·
Malw
110
·
•
plot.,
Oritloa
in
general
te.ke
exception
only
to
tho
Sj.lGOd
'''
',·
''
' '
''
'
l.5
ml.th
v1llioh
the
oonoltts!on
of'
Twelfth
rn.e;ht
1s
ef:feo"'.;ad. ,
Dr., Johnson,
lloweve1--.,
thonght
tho·
play
was laolt1ng
in
noredib!l!ty·r
1
end
:tn
''proper
instrv..ot1ort
1'
at·
tho
last
..
16
13
·.
·
Thaler.
Alwin
0.
11
Shakapare
and
the
Unhappy
llBPPU
Endtng
11
..
Pa.blioations
o.
:f
the
Modern. Lsn$J;11e
AesootaHon
of
lmer1oa1
x!J:I~Sepi.~ 1§2')*
1
P•
•1
1.
-
14
Fleming
• W1Utmi Ht~ Shr.Jteemee.:re' a
PlotJ!,. l>• 3"/5.,
16
Thalar,:
AlvJ1n,
"Sbalcapere
a.11d
the.
tJnb3pp;y Happ1' ~1nding''
•·
~plioati
on~
of
the
~Il1a.e113
_J'J9pt!;to.ft·
..
Aaeoo1at
1011
.2.!.
. 1imerios.
XLiftSepf-.
· l921}.,
P•
7
•·
.
16
.Tohnson.
Dr.
(1765)
~
~s
q~oted
by,,
Furness>
H~H~. A
New
Variorwn
Etiition
o~
Shake§J?eare
0
XIII•
l>•
s'f(J.
-·
,''
lS}
.
,0
-·,·,-Ill'·
-Dttt
"all
that
~a
lmpl'>bsble
i~
·Tv1el:tth
liie!;t
ls
the
:.derity
'o:e·
'the
mati~-
..
;~
·ana
it
-ls
a]!n~st
3ustlf'ied
by
th~
ll'.ressttra
of
:the'
a;otton
to
'its
o:lOEH!J::
11
lta
for
'.the
1
laok'
of
fl
'n10,;a1
.
.
1°11
tbs
:play\
·ntl
·one
-~
Oday
i!eeis
thi.t
the
f,:tllotion
of,
oomedy
i~
'to'
't'each
'a lesson''.
Pir'~
'xJnrw
:th1n1ta
\the
~,·,;1age
o~nt;ra<ft
betw~~n
011~1a
eina.
Sebl:le~iSll
!
s
'both
<htirrted
~a
'sttang~:
l8
. Is'
1
~
So
strange',
though?
01i;tk
'1·a
'a
beautiful
v,onian
atld
_trwcy
;should
not:
Seb'a~·t'tan
VJ~toome
the
:pr·,fi~~
\vhfoh
.fa:ri'a
p:lump
l
1
nt~
hf8
~e,1'1
19
'
Ba~11es.·
no
Orie
qtla~ttone
the
fM't
that
Sebastian
httS
charm·
and
_!bre.tns
'en(n;zgh
t6.
mak·e
Ollv~k
•':':'
':1_
- ·
•.
__
•.
-
·,;
·:.
::-
__
·eo_
\:
':
,'
,f9QS0l1.S04'.
'happ7'
1
0 , . .'
The
nt$.ttr!age:
C:
~tract
'betv1~en·
Oli:ri.e.
and
Sebast!Ba
--
does
"not
'seam
ao
attdden
e.a
it·,
VJOU.ld
were
it
to
come
st
the
. .
·en'a
of
sot·
:flveo·,
Bi
oorril~
at
the'
end
'of-~ot
tour/·
b)1.v-.
e'ti~-.
it'
not
only
'seetne
lass
foroeu
but
it
aieo·ma.ketf
the
audience·
fet~l
tmt
'thera·
1s
~ ~
a.
oh~noe
tor
Viola
'to have
..
.
'
Orsino.
V1ola
ts
a
lo~lt
girl
and
tln
Duka
oa.n
recall.
.
·,
:
_-,;
:
·,
_'
..
'
'
...
'
--
.
-·.
' '
'.'
'
. .
,,
numerous
expressions
of
her
love
for
htm.
Wl\'v,
then.
should
w
''
.-,
1
'1nirs.tth~W8
~
Bt'andar~
Shalt§.Po
:t~
S.!l
!
f,JSU~~i$J1t.
p
~.
l&f.
1
8
xenny'~
T,>
1
Life
~-Gen.iv_~
.~t
Sh~~~lj~~-re
(1864),
p~
l.99
:,
-
a.a
qt1oted
_
'by
F:u.rnoas71I:.;a-,,~:
1:~
~Te-iv
y~ri,o:t:m
Ji~J,..,t~?~9.?J.
~f ..
~l.¥l)tEt~lll~~(l,
XII
I,
I>•
138~
-
l
9
Matth~a~
B~der
0
S,ba~t;i~a,ta,
ea
!,
,f'.f,e;w7.'.ii$h~.
p~
l.64~
2
0r_t.be.1e
r
*
ft_
lwln
O
"sbe.lt;$:pe
re
an~>'t
ho
Unhe.p;y
Happy
Ending''\
~ib_lJoat.i~ns
of
the}JQ.«arn
r.en£m
7
ff_".AEtsooiation
U
Jllllerloao
XLftTsept.;-nn~,)
~
Po
-6 • ,
20~
he
not
fall
in
love
W1
th
her
as
soon
as
he
knows
her
to
be
e.
woman?
Indeed.
tha
speotatora
~ve
"lU.mly
deserted"'
et1d
.·
..
. . . 21
"vagu.e~
das!red'*
these
ttvo
weddings
all
the
wh1let
.~
In
spite
of
one
almost
imparoept1b1e
flaw
in
teohnlqu.e,
tha
aEfuouement
of
Twelfth
Nitiht
is
handled
with
agood
deal
•
,.
• , I
of
aldll.
Shakespeare
errs
in
thst
bs
does
not
inform
ue.
until
the
oatastropha
is
reaobed,
of
Antonio' e
oapture
of
the
Duke*
a
vessels.
In
the
.fore
pefrt
of
the
plSW
• be
gtvae
us
the
1nfomat1on
that
Antonio htls reeoureii
Sebastien
from
death,,
I\fow
he
tells
us
8011:le
of
the
faote
of
tlte
Oapts.in
1
a
l1fe
previous
to
his
meeting
with
Sebr:.stian.
This
informs-
"'
tion
1s
valuable
to
the
spectator
of
the
drama,
but
lt
ts
a canon
of
dramo.tto
e.rt
that
lm.oGleaga
of
w~
t
hna
teken.
plaoe
-previous
to
tl1e
beginning
of
tha
dramat and
vzhtoh
it
1
s neoest1ary
tbe
apeotator
shoulu
poss$es
in
order
to
understand
end
ey,preolate
the
playt
ahould'.be
given
in
the
"20.
.
.
..
·
~
introduatton
or
at
least
in
the
early
part
of
the
p~
•
Bn.t
t~
catastrophe
is
real~
brought
about
direotly
s.nd
:rapidl;ro
While
everg
word
end
deed
in
the
d~a
leads
.
'l
.
toward
the
conoluaion,
the
appea1;,enoe
of
Antonio
and
Sebastien
in
the
early
part
of
the.
catastrophe
appe.rentl;r
tends
to
ward
greater
oomplioetion.
The
result
is
that
-
i'
t-1hsn
the
solut
!on
is
f
inal;y
reaolled,
th~
tlre.mati
o
effect
of
the
whole
is
heightened,
•
2
11r1t£itthsws.
Brander.
Shak§Pera !9.
£:.
Pl§VWr1J$ht •
P•
164
o
.
.
'
22.Flaming •
w
i lltem lt
f)
,
She.lteH31,?eara
I
a
Plots
tt
p"
S64
o
·21.
3ust
as
Ttveltth
!JL$1,l~1
opens
with
a
~sq1.1~:,st
fbr
..
rmiate
~-
so
it
closes
W1tli
a aong-,
The
song
18
mi epitome·
of
.hU.man
···#
life;
its
refrain
stg.ntfies
that
·,,htle
there
ts
·a
~erta!n
amount'
ot
~torm
'1n
every
lmm~ti
life.
the~e
la
also
·a
cer-
tain
m~saure
of.
~ahi:ne.o
·
And·
S6
the
play
Olosaa
6
but
tin, .
e~tio~
·oontinuesa
Tl1e
Duke·;~
m~ssatlger
1e
till
~nt.reating
Ma1vol1o
to
paaoe.
and
.]Kalvolio
ts
~t
to
teil
~f
the
•.·
. . j .
·•
......
·· .
·.··
'.·
•
25 '
captshl
who
holds
'1iol$
1
ls
olothes
...
The.
pla1a
!:n whtch
the
.catastrophe
1
a o:eatered
about
'
'
'
t~
~b-plot
are
so
closely
._related
to
those
in-
whioh
~he
ena1_ng
1.a._ant!•olima•atio -the.t
it
!a
a queet~otl
wh~t11a:x«
certain
ll~mas·llalong,t·-e
one-
sm:up
o.r
to.the
ot~1er.
This,
......
1
s.
YE:rttOlllarly
tru.a
tn,
th(;
·case
o~J.·
Micteu.pimer,
N,its!l~
•,a:
...
Dream.
ld;tentton.
in
..
tm
f!ftb
aot.
ts
foonsed upon
the
..........,_,'.
,
...
'
.··
.
perfon:nnnoe
of
"P,ramts
e.nd
Thieben
bf
the
rt1attoe,
who
are
certstnl3r
oha.raotera
of
the
so.b•plot
~-
.
But
this
ameten.tr1sh
;...
. .
'
.
'
:
.
'
.
'
....
entettatlrlffl.ent
1a
1:'eal+1'
1
1
ttot
e.n
h1teg~l
part
of
the
play.,
133'·
the
end
ot
aot
tour,·
Oberon.he~s suooeeded
in
obtaining
tlle
ohengeli~g
boy
from
.~ite.rd.a.
tl1..e
Queen
ot
the
fa.tries
ia
reaono;led
to
her
lor.d
0
~ct
Bottom
ls
re;U.eved
of
hts
ass•s
head •.
!qeana~r
ta
once more
in
love
with
Renrd.a
arld
Demetrius
at
lest
returns
the
love
of
Be1ena.
aa
'
.
Nothi~
roo:Gins
undone,
except
the
~:nst
5-~_s•
parforrnsnoe end
tbs.
oonsum:tnQt!on
of
the
t~ree
m9.rrtagea, lind
the
watld1nSe
ere
of,
the
lea.st
inter_ast •
The .
pre
sen
tat
ion
of
"Py:rs.mu_s
and
Thia
be"
Bflffera
some•
wl~t
from
the
fsot
tbl
t
the
e1.1a1enoe
al.t'eady·
knows
how
the
wall
will
be
presented.
end
:tmt
the
lion
w!ll
~t
the
ladles.et
ease
by
4S.solosing
hts_
real.
identity.
Bt1.t
it
la
all
very· amtising and becomes 1nores.aing1y
so
as
we
see
1t
'
.;
,;
.
~
:•
tnrat,gh
the
ez,ea
of
the
Dnlta
end
his
party.
Attd
even
if
tho
;vouthfu.l
eu.t11or
tilssrts
this
e:tra.111eous
interlude
be-.·
'..
' ' ' ' 24
oause ha
bas
ran
ottt
of
msterta.1
F..nd
t.he
play
must
so
on.
.
'
'
.
.
-.
he
is
to
be
admtrad
for
the
tiMl
soene.
Wbs.1;'
0011~d
b~
s
~ore
fitting
o.~oae
for
A
IH.Lst1:;mrnerJ~.!.fiht~.~,
Droam
.than
.~h~
picture
of
the
fairlee
a.a
they
come
in
af'ter
~va~ona
has
, ,
\
retired
to
tts,naep
tha
dust
lleh5.nd
the
door" and
to
bless
the
ooou.p~ts
of
enoh
pal.soe
oheJD.b~?
·
,The
oatas~ropha
ot
Th~
!\!~ro'.hel},1
of
:{Jlp.1.o!
is
deoid&d];v
. ' , ' ' . '- ;l '
snti-~limaotio.,
The
knot
ie
untied
at
the
00110J.:asion o:t
.
..
...
the
trial
soetH:l•
end
aooordt11g,
to
the
oommon
idea~
of
·, . . . . · . .
·25,
·
theatri.oal
eat1sfeot1on#
the
ou:r.ta1n misb,t
drop.
Ba.t
Shakespeare
i'elt
that
something
was.sti.ll
wanttng.~6
He·
PA'Metthevis
1
Brender•
S~ksnere
as
2.
Plgzwright
0
Pt
80t
25
sohlege1
0
A~
w
~~
Lectures
(trBns.
by
B:blolt~
1Sl5)
0
Vol.11
II.
P•
169 0
a.a
quoted
by,Fn.rness,
HoH•,'!
New
-
· Ve.riormn
Edition
of
Shakaa;eee..re•
VtI.
P•
4i'r;
26.
·,., ,
..
·
...
··.,
..
,,
..
-~
.........
'•'
·.
',
· -
Edinbtlrgh
Review ( 1840)
0
Vol.
rnI.
P•
4Bl,
a.s
quoted
1
, ,
by
Furness,
~H,,l.{
•.•
!
Eaw
Ver1orwn
~
t!O,!!
-2!;,
.~beJtespea~e
0
VII.
Ptt~o
WtiS
not
wi.lJ
..
tng
to·aismf.a~ h1s e.ud1ettoe
·\al
th'
tlle
glt,01iw
impressions
\Vliioh
the lttl0Xl')(H.tted
d~ltire17
of
An·ton:to·
e.na.
.
..
' '
··
..
''
'
.·
....
·.
.·
...
27 .
''
tl1a
lJt'tr:1
ishment ·
of
Seylook
·malca
1nev!tnble •
!f
ho
hnd
·
aloeed
tba
pls;y
while
we
are·
etiil
ag!:tated
by
the:
perils
of
tha
tr!s.l
end
.the
blow
whioh.
Shylock
reoe1ves,; 1t·
W~tild.
b~·
!mpoesib1 e to d
e~te~mlne
.
w'l~ther
Sh:'lkespaal?G meant
to.
axhiblt.
the
tragic.
'or
thJ·
oom1c
aapect
of
lf:fa
~~
tha
.
prominent·
ona,6
28
t!oet people,
in
faot.
still
believe
that
·the
main,aotion'of
Tlle'!,!aroh.~nt Of .Venioe
1's
tl1G
loan
rrtt,tle
~
....,..,
ni#'
~
.,...._..•••~••·
·.
'.,
·,,:
'-
<.
·
'•
:
.·
. • .
·,
•· .· · · . ·
',
.. , •. · •
29
·
by Sl\yloolt
to:'Anton!oll>
ena
the
oonaequenoes
thareo.f.
And t·hey
belteva.
thls,
1n
sptte·of
the
·:netnrs
of
the
fiftli
net~
baoause.
they.
are
most interested
!ri'.
the
Sli,ilook: eoanes.
Otte
. reeeon .for
th!
s apparent ove:i"al~tlow1ng·
of
the·
love
sto~
of
Bassanto
·ri,nd
Portia
ll!r
the
Sbylo.ok
sto~
l,.iea
in
. ' ' '
''
·.
,
...
' . ' ' .
~
zo
the
oonventtonal method
of
.stag
tng
the
pla1'•
ln
modern
times~/
the.
atar
eot,Yr
ot
the
east
almost
always.
saeum.as
thE:1
oharaoter :of SbyltH.Jk.· and
therefora,'givoat~~t
Oha~a<fter
en
.'
ex~gerstao'
import~.noe ·
tn
the
l)resentatton.5
1
·1mt
's;tvlook ' ..
appears.
1n
6nl.1
··ti:ve
etienes 'o:t
the
entire
pl~.
~d
only
. . '
,\:..
2
"solage1,
A~
w~p,aotnra$
(transo
by
Blaok.
1816) •
Vot.
I
I1)
P•
169
0
e.s"'quotad
by
:b'\lrnaE.'H.1$
11.H. •
·!
?!ew
·
Variortttn
Edition
o~ Sho~espae~"e
O•
VI
I•~
p • · 4iPT;'
2
~t:fdl~:tntr~J!~ev1ew
('1840)~._Vol.
LXXI,.
~·•
481"
a/a
quote«
by
·· ..
t,.;
..
meaa,
if;·
Hot
1':\
Mew
Vet>!oru.m I{ddition
of
.
, SlmkaS1)l)Pr~,, V!!;·j)·;-4"2'3. --.
,.
.....
'
29
,w
~
.,:
W
~
n.
~
~'.bak~~spe9;:t;13'
.~
Plot
e
~
,;~
~ ~
'
SOibid • .
......
SI
.•
- : ,
::,
·;.
;;.
:.
. . . ' ' '
3
3,_
bi
a~;
..
..
· ; ·
··
··
·
.~
·,
'J3Blter
0¥GoP•• The Develo}!latit
of
Shake12eare
a.a
s.
Drsmatist
· p
•.
20a.
--
- - 0
-
""""
two
of.
thoae
ore
long
o
•.
Whon
we
to.ka.
thesa
fD
ots
h1to . ·
oone.d.d
Gj:-,>atio11,
1;hen,
·it
is
evJtient
th~t.
Shaksp~era
manna
to
. empliasize
the
Bosoenio•Portia
plot
Oev9.n
thol,
..
gh
hie
..
, ·
..
.
......
52
oha,raoter:tza.tion
of.
Shylool: i.s
strassad.,
. The fo~ego
tng
dtam\asio:n brlr1t~e
us.
of
ootirse
0.
to
th~
l
qneet!on
of
tJJ113th:1~
the
Shylock
plot
! s oomio
or
trsslo
•
Mr.· nc.lter
feels
t!'w
..
t Sl~rlook
!.
s a
trasio
ohe.,1"ttotar
ena
.
tbs
t
.we
cannot
bal1eva
i.n
liis
aooeJ1ting
his
defen.t and
tlle
'
eond.1
ttons
im:posed
uron
hb1.,
For
tb1s.
res.eon,. ha
f
it1ds
·
....
· . . . . 53 .
tlle
end
of
.~!ha
~et:oJ1.f:flt
..Q!.
Y.Jtti.J..o.~
unsati
sfy:tns
•
!,~r.
Bradley
e.lso
feels
that
Seyloclt
1s~a
figure
with
whtoh
the
:pleasant
eno.ing
aoas
not
bs.rmon1ze.
34
Opposed
to.
these
~
...
• t •
,,«<'
' '
views,
however~
era
'"the aeasonat'l
bslanae
of
oritionl
. . . : . . ·55,
op!.nion"
..
ena
"the
tnsth1.otive
resotton
of:
oliilclre:n.t' •
Moreover
O
we
must kaep
1n
mind
the
fa.ot
i;ha~ ·
S11.S.kespea.r,1
was
writing
not
for
a
tvn;nttath-oeritu.x,,·
attdienoe
bu.t
tor
.·
··
·sa
an.
ritt~!anoe
which
!,)robe.bly le11ghaa vJhere
v1a
do
not
0
en
auiU.c:Joe VJhioh
daltghtea
1n
sb.6:),1
...
l' oontre.st~
between
tha
31:!Ib!d
-
..
t.
33
·.
· · · · · ·
JJ>iS•o·
Po
2680 .
54
T1'1:l.ler,
: Alwb1~
t?SheJta1,a1·0
ena
the
UnMpw
llaPJW
~ding'\
Pttblioetions
.of
tM
P.iodern
~~
AaS6oiati:on
of
. ~\O!)i_<t~•.
i:Gft'1"Sep'£.,.,
3.U27)
•.
P• t::§'• -
35 . ,
,:
,
ros..a.
56
woodbrttlga.,
Elteebetll;
~.
})~.
P
~
15'7~
I •
....
'
·•
serious
or
tragic
and
the
oomio
or
groteequ.e.
37
It
ta
quite
poselbla,
than.
tmt
Slw.kespea,a meant
SJwlook
to
be
comic,
but
unooneclouell'
treated
him
in
a eympathet1o
manner
'11mpl1'
beoattee he
001.11a
not
help
doing
tb1
s
with
..
. .
...
• . .
•.
. . .
.·
.·
. . . .
38
aey
oharaoter
in
whom
he became
interested.
Bttt even
tf'
Shakespeare
oona1dered Slwlook
to
be
the
£amtller
o
omio
victim
ivhose dovmfall .
.,...
~ffacted
by
1njusttoe
if
not
b~
3ustioa
-
brings
with
1
t
tbs
h!lpp!nees
of
the
lovers,
39
he
also
la:u1v1
that
the
feeling
whtoh ·
·~
genuine c
om.edy
should
leave
on
the
mind
1 s
assuredly
not
tmt
whtoh
rests
on
tm
mind
ea
ive
leave
the
ptesza
of
st.
·40
,
,..._
..
t .
.·
. . .
Mark,
·'We
.i~ve
o
be
won
back
tQ a
ssner
0
.happier
aaoeptance
of
life
.,n
41
It
ls
only
natural
for
the
hmne.n
mind
·to
pe.ss
from
stratn
to
raeoti.on
Blld
tor
relieved
suapen~e
to
find
vent
in
exhtl,aration.,
In
Thg Maromnt
.9~
Venice,
the
~eotion
ts
fo11tla.
1n
the
ring
episode,
b7
whioh
the
diegu.ised
wives involve
their
husbands 1n
a
perplex!
ty
which
aff
oraa
tbe
audlenae
the
neoesse.17
5
'naker~
G.~.
P~~.·-.
,The·.I>Gvalopment
of
Shakafmeare
as
a
~
•
..-....,
I
l(.V-
- -
1
I.
--,.
..
,.,...._
...
Drama~
tat•
p
_.
~
...
~.
.
..
38
wooa~~tage.
EJ
..
1sabeth$
~
Drams.t
P•
157•
59Ib!ll
I,
.
__.ff
•. •
4
0Edb1burgh
Review
(1840)
..
Vol.
LXXI
0
P•
481
0
as
quoted
..
.
·15y
Fu.rnaas
0
H.
Ho,
!
NevrVartorum
1Ud1t1on
of
.Shake
s;eas~e
OVI
:c.
p
.-.
'I
2~
e
41
Quill~r-Oouoh.
Sir
.Arthur
0po,tea,
on
Shskeepeare,•
_E:\
R!on~lanan
shi:p
~
Po
9?.
26.,
· · . .
·...
. .
42
,
merriment
for
relieving
the
tension
of
the
t3:1a·1
scene.,
If
.we
resolut83:Y
hold
the
.tt:i..al
so~e
baok_
in
foous.
the
last
aet
oeases
to
.b
etts
St1.per£lt1.ou.s
appenoage
hobb.l.i11g 1.n,
in.
a
sp1ri
t;ess
me.nner.
after
.all
th9.
tnterE.u!t
is
43
. .
··.·
·
eva:pora:tea.11..
It
becomes
instead
tba
most
de.l!ghtful
aot
. . . 44. • . . . . . .
..
.
..
.·
in
the
plsu
•
an
set
which
relieves
the
heart
fro~
1
ts
.
oppression
end
which
closes
in
nm.sto
by
moonlight,."
amidst
the
plaota
:gladness
of
:fesouad
1:nnocanoe and
tm!
tad
love"
,,
45
There
seems
to
be
.some
1ndiost1on
tmt
.Shakeep~are
tried
to
olose
The
l!ero'.tent
of
Venice
in.
some
other
manner
, ·
~
M•.•
em
d
.........
t
••.
1¢
.
r
than
the
one
l1s
final~
emplo;vea.,4.''.
steplmno
tells
toren~.o
and
Jesstoa
that
Portia
ta
returning
to.
:Belmont
aooompa.nled
~
...
..
:.,,
by
a
..
hermit
&1ntl.
.her
~Hl.
-Ba.t.
es Dr,
Jobneon
ee.y_e.
>tt:t.
do
I ' ,
",I/-
• ' •
not
.perceive
the
uae
of
t!lis
hermit,
o:e
whom
not~1ng
is
.
seen
or
)lee.rd
.afterwartisltt •
4
'.
No
doubt&
however. Shalteapt·Mare ·
!,v
,
~
.
~
~
,_
•
I
first
planned.tba
story
in
some
other
way end
h1,avertent~
~
,
'
~
retained
this
trace
of
the
.original
destgn when he
ohatiged.
''
'
I'
'"JI'
, .. , Shakespeare
ssenta
to
pull
the
strings
a
'b!ti:
el
the
enli
6·
when'
ha
lte.s
th:re&·
of
Antonio'
aargos1$S
11
r!Chly
oome.
to
l'a
~Ol!'
sadden'.cyif
"
49
,
Mr.
Thaler aav1ses
us.
St
this
.
·point,
to
rffl!embar
that
,"tli
a.ooonnt
of
Antonio's
losses
''
> • '
'.
•
/,,,
, , ,
I•,
.·,
,
.·,
·. ,
..
·
·.
. , ,
,,
, , , , . ' , ,
..
at
first
was
kept
by
tiv,
t
aareless
fei:lllle
bookkeeper.
·.
.
'
''''
.
.
'•'
'''
.'
·,
,, :
'
'
,,
'.:,
'
.
'
'
..
:
.
'gossip
repcrt•
•
vJ)))
is.~
ol.v,aya
•an·
honest
t1omen
of
he!:'
.
woX'd'
n~
50
Bu.t
even
th1a
olaver
suggestion
oJ:,es.
mt
~~
plain
·
!"by
whet
strange·
aoo
ttlent·tt
Portie.
ohanoad upon ·
the
letter
oontelning
the
ttnbalievabla.
11ev1a.
5
i Abs-ard
a.a
the
~·ontt1t1s1on
1s,
we
mtUl·t
e.coept
tt'~
just
~a
we
accept
the
-
'
.
.
,.,
oae!cet
storg
and
the
sto17
c>'f
tha
potttu:1
o.t
flesho
2he
~ot:l?n
of
The
MGrohant
o;t
V8nioe
0
lika
thl'lt
of
!!e.lf:th
lU
, doss
not
·end
·.w
1th
the
oonolusion
of
the
1f'J11Y•
62
As
the
curtain
comes
d,own.
PGl'tia.
and
her
ft>ienus
pass
through
the:
open
door
of
the
mansion
st
Belmont•
looking
fo~ara
·to·
ooar:tng.
Port1a
"eJiswer
a11
thtnss
· fatthfo.11y'* • ·
48
n,tit:. · · · ·
,_.,rmq
L
,0
.
'*
4
9T~1er,
·Alwin;
·~Shti\3*spe~~
'and
the,,
trnbspp;v,
Happy Ending!ff,
·
Pnblice.tion
..
a
of
th£5.
?~tod<}rn.
:ranro:~
Aaoo('tia~1on
...
·
~oP.
,ap:i~lqe,
xbft1leirt~·.192l?t.
»•
'14f;.
00
nM
·
s,;~;~~e~Couoh~
Sir
Arthnr
11
4):Q,t.e.f!
211
:':lJ;iekes;pearet
s
·.
Worli:mansli1n~
p~.
97
~
·
aa
. .
·.
· · ·
··
.·
" · · ·
Plan~g,
W1111em
11.,
..
~hakespef'.re•js.
Plots.
P•
E3l.
,.
,f~QJ!
~
~o't\t
Mot3'\!p.fI•
end_
The
...
Two
Gentleman
of
.Verona
~
..
,..,,
&t"T'QI~
PT_,
From tlia
standpoint
of
·
oe"~e
..
stro1;ha
e.lotua
•
·aimo·at
aU
of
S~"Skespaari:::
1
s
other
ccmed!es:
can
be·
grouped
under
ona
head.-
ID
ge.nsrel,·
they
era
the
oomedies
in
whi'ch
the
,,
1
catsatlbphe
a.oea
not eeem
'to
·grow
otit
0£
or
to
be
the
cU.raot;
result
of
wl1a.t
ha.a
pl'eoedod-,
In
soma
of
tlle~e
pl.eye,
·the
inoonststenoy
of
ohs.rao·ter
or
other
fucongro.ity
is
not
so oonsp1ouotts beeeu.sa ·
of
the
light
tone of
the
whole
p1eoa.
In
t·lle
rams.tn!ng oomedies
0
·on
the
other
hand•
the
so•oa:tled
11
1ia1,v1
endtn~"
la
t.lot
111
aooord
with
the
~atl1Sr
trog!
o netu1·a ·
of
t11a·
oha~oters
or
vdtth
the
s!neet.-1
tr
and.
tJoriouenass
of
tlie·
action.
,'To
the·
first
uitrisiou·o:r
thte
large
group
belong
the
asta.atrophaa
of
.rme•s rabour•s
J~~!.
As·
!<?.-1!
~
I.:!i»
n~,0
1
h
Aao
~-bout
:r:roth1llf£
0
snd
·T,hg.1!?.
Gen·tlemen
·P!..
Verona·.
W111oh
we
shall
examine·
ona
b:,
one
here.
The
f
lllal
sot
of
Love•
s Iabo't1r• a
!'6st
·
i
e
a·
patoh~
'i
.
--
•""'.
'!'1H11•'*4
.-
, ' t, ,
¢1,s.:¢J,
, , ·
.,
work ·rat~r
'then a
pre'am.1tatto'n
of
sttuatt'one
1iv1"j(th-.
develop
no.turfltt;y and i11evlt.e.bl;v from
tba
ee~l!er'.
par~s
of
'
~
J!::D!!!'
. ' ' . . ' .
•OiO
·.
·
the
play·.
· ·
ey
the
end
of
aot
:tour~· .the
IS:ing
of
·Navarra
end
tl1a·
thr'ee
lords
att.e:ndtrg
him
htlv~
deotded
,d.efin1tel7
·-
•r...,..\af
-
'Ii
W
#I'~
to
woo
the
J:1,.inoess
of
P~a.o
aru.t
~~
tlµ:*ee:
lad!efh,
Tl,1.$
lllalt
iU.egu.1aed
as
Ru.Gslens,.
·then
via!$
.·t~o
ladies,
~1110
trio~
thef!i end
laugh
at
.th~
u:uti,1
they
sre
forced
to
leave.
;
t;naau.ntaa;
E1erui!land
~cl
ht~
f
r!e:nds
ratt1rn
in
the
tr.
o~.
costume~
a1d,
after
nokn~wledging
that
'they·
hnve
been'
out•
•.
( .
.,
• !
·.
, • . .
',,
.,
• I •
w~tted
1
their. allow
t.11a
mtnor clm?'ecters
to
enter
e:nd
present
'
~
'
.'.
'
11,
·~-
'l
' '
:.
• ' • \ '
<
·:
: '
".'Tl1e
)Tt,na V1orth1es'' • Led
l)y·
:B!ron·
and
:eoyet •
the
o:ri..araote:ra
Qt
,1,he
11!1l1n
;P.lot
!\tte!lJPt
to lU.soonoe~t
the
~otor~
and
to
' '
-
..
'
.
'
''
'"
'
.
...
)
~:ffe~t a o\e.llellge
betwe~
Coate.rd 'and
Arma.do..
The
uproa:,.,
juat
r~aohes
its
hetgbt
when
the
news
oonB
s
to
the
Princess
• . . . . • '
'·
...
t.
,.
' '
tb.'0,
t
her
father
1
s
tl.
ead..
. ( .
~he
action
o;e,
the
pl~
tb.~n
su.O.denl;v
stops.~
and
\tha
oQmp1at~
se~tl.ement
o:f.
tba
:tove
sto~
is
daferrea
for
a
Y8f:l.'J:.,
54 Vl~t
t~e
Xtm
Slla
hie
Mmpan1ona
hsd.
sg;ree~
to
do
0 • '
~
C
·
"1n
wllimeioal
ar.rogant
oa]>rioe"''
ta
now
foroad
upon
them
..
t.hougb
in
a
aQnewhe.t
m:~diflad
:l!orrn
....
,w·
the
:t.ams
..
56
·
And
not
o.n~
nm.at
Ferdtn~d_'.-and.
h1s
1~:rda
serve
o.
JElar•
s
prpbation
befora
the
Prinoesa
attd
her
friends
will
nwrr,
them.
but
.
~rmado
must
be
a
1>lowman
~brae
years
for
Jaquenetta\
....
' '
As
ye:t,.
110
wholly. 8€ltiateatorg reason baa
been·
suggset•
ea.
tot'
th!
s ourit>ua
anding,
wl?.ioh
ia
thrtiet
in,
so
to
B1)8e.'.ko
.f'~tJl
tl1a
ou.tsiiiS
l"a·th)~
than''
develOJA:Hl from
elements
cont,iinac1
tn
tha
ea't111er
aots
of
1f.,vr('·
s
:tabour
1
e
}£e.t.
55
•••
• ·
,-
v
·'
.
.'&
r
,·,
•
",.....,.
,-.--
.....
,.,.
:t •
mu
rm.
•
.•
·
·t
1 ·
t
Pl!'
-
ffll
,
54
·.·
.··
·.·
.~!f!,,.
Po
101•
5.5Ulrici
6
~r
...
!!~J'.'!00.~•
,Shekepa,e.X'e
1
s
D,:amntto
!t:!i,
1
P•
8'1
o
66
Ba1ter.
G,. P
••
The
llevelonent
of
Shekeal')eare
a,a
e
Drs.me.tist0'PP•
i1f•·
12."
- - -
As
Mr.,
R.
O
e
Hart
says.
the
play
hes
·brolten
dowri
by
the
· .
,57 . : .
time.
the
last
aoanaa
get
under
vJa7. ·
1
rhe
youthfttl
author
seems
at
a
loss
to
know
hoW.
to
·.
olos
e
his
o
ornedr
•
He
spins
out
the
benteri~
of
the
ladies
·rather
too
lonch
inserts
the
performance
of
"The Nine vVorthies''
tn
order
to
fill
u1i
spsoe
or
time.
and
finallr
ends
the
play
by
~ropping
the
com1o
tone
· end
tnt,.,-oduo
ing
an
m:terna.1
toroe.
on
the
other
mnd, however,
after
moh
extravagant
ratllerr
ea
prevails
tllxt>ughout
Love•s
:tsbou.r•s
!nst.
1t
ts
almost
impossible
for
the
oharaotere
to
return
to
sobriety
without
<tnn1ng
under
the
preseno
e
of
some
.foreign
influence
o
13
.
.
If•
moraover0
1t
ts
Sbakeapea.re• s
purpose to
sbntr
the
trifling
of
the
earlier
a.ots
at
1ta
morr11
value
against
a
bMkground
o~
tragio
bappan tng~59tha anding
oould
baruly
be
othorw1
se
•
Coleridge
!lO
dou.bt
bas
this
vtaw
1n
mind
when
he
s paaks o:t
"the
ev1aat
and
tempered
gravity,
w
1th
•
,,,it/Iv.
l
v1htoh
Shakspsre·
in
the
end drav,e
the
only
,fi
ttirg
m<tral
..
which
au.oh
a drama
afforded"
•
60
t.ftar
the
ennou.naement
of
the
ultimatn.m
by
tbe
ladies.
the
m$.mb~re·,.of
tm
sub,plot· entear
·to
ems
the
song
batvJeen
ap~
..
ns
·
~nd
Winter,
whteh
are
represetitea·
by
the
ouolto?
end
the
owl., I.Ute
the
song
et
the
o loss
of
Twelfth
.pJ.~ht •
this.
~rlo
a1.lullas
·to·
the
·general
SiSniftosnoe
nt
the
v1llole
play..
3ust
as
spring
and
·wtnter
are
not
separate
e.t.ui
are
not
in
ten{
eti
to
be
ao.j ·
so
vJi
·t
and
all
tr:J.enta
are
"ttseless
.
.
-
tn
themselves.
stu6.y
snd
p!loscrpl,;r
a1~
~e
,folly
when
kept
Q.ttl
ta
aimrt
fi'Om
:r,ea.1
:u.£a~
61
·.
·Thus
!qye•
1
q
:teboiirt-s
Lost
olt)sea,
leaving
us.
~11th·
muoll
tho
same
·tealing
ttw.t
·Biron
expe1•ienoasi
n
13$.X\:)n
•
our
wootng aotl1 not
cmd
like
an ·
o
1a
piar;
·
·
~aok
'l'~th
not
3ill;
•~•
·
.
.
Xing,,
Come
6
s~,
it
·we~te a
tv,elvemonth
end
n aar.,
· And
then
•
twill
end ,
Bt~n.
That1s too long
for
a
plsF•"
62
""
The
close
of
the tlomedy
•.
to
a.
certain
extent.
retttt'ne
to
&3
where
it
began.
It.:
1 s
not
so
nm.oh
e.
tern1tnat1on
as.
a;
61
._
... _ . . . .
4·
. . . •
._
,.~-·n-
trT,
--:-:·:
t1lrtot.~:Dr.
Retmann.
Sbnk§neare•s
Drema.tic
Art.
,
Pi>.
87•88
• • • - . , ' . . . .
..............
.
62 ' ' ...•
'.
1 . . '
,·'
. '
..
:'
:,
. Love'
a.
T£\,bo11r•
a
Lost
Vo
llo
?•llt
,·
- .
-~r•
-. . •
~
.
68cr:triot
1
.
Dr;,
Bermenn:,
.·
Sh9.kepeare
1
a
Dramatic
Art•
Po
88,.
' . . .
.·
. . .
"64
oles.ring
.of
the·
1t)ad
of:'
·life
o ·
And
al"~hott~h
we
know·
how
1
t.
wi11
all
O
trne
·
OU
't
at
the
end
Oi
tl1e
~ee~r
,65
perll.SlJiJ' mttOh
of
the.
laok:·or onthusiaem·
fhr
th:Ls
first
plsu
~y
Slw.k~spea.re
may
be.
attributed
to
his·
def1e.nce
or
the·
conventional hsPPil'
enc11~ •· '
I'
on
:the
whole.
the
(H!ltfiStlt).1,he
of
A-$
Yott
L!ke
·It
ts
.,
----~-Si,,,.,.~
''
bSOS.USG
·tl'le
UG?lOUGment
1S b1tftl6fht about
in
B
prett;v
"66
orbt
tral'Y
manner
fl ·
·
·
Mr_.
Hudson
feels
that
tl1a
many
1
ssu.a
s
of
the
-pla.y
are
just
as
vie
would have them
to
be.
He
says
our
w
tsh
is
tltat
·
Fredari.Olt
Eed
ot1ve:t*
should
repent
end
repair
the
wrong·
..
tMY
have dont).
And
as
soon
as
they
become
good.,.
thqy
, .
•.
I • - • . ,
<
•·
•
.•
67
nstttm~~
love
thosa
v1ho
tvsre good
before.
·
r·t
ls
tra.e
that
we
are
glad
·to have
these
·tt110
men
reform,
but
would
a
charecter
like
the
im.r:igh''ceous Dtuta
be
readilr
oo~verted
by,
a
reolusG
h8rmit?
Would a
melt
lilr:e
Oliver
de
:Bois
be
complete~
t1~nsfott1ed
:\w
a
single
aot·
of
~gnanimttr
on
. 6~~te"sefiald , John*
~V)Lllte.m,
-~-~tk~SJ?~~.~t:t•
.
P•
27 •
65
nolfe;
edition
of
Love•
e
.~Q.O.'..tt'}.q-
,L2~t.t
·
P.~ppe:ndiz
1
l>•
190.
66
..
C • •
so~egel.
A •.
w
.~
Leotv~~s
'.
{translated
'br
Blaoko. 1816) •
Vol.,
II,
P•
11
12
•.
as
quoted
.by
Fu.meas,
n.
:a:.,·!
l~etv
..
Verioru.m
Edition
of
.s~ke~1ee.rJ!•
VIII.
P•
418e
67
,,
·
..
l .. · . . . . . . ,
Hn.dson
..
!ntx:q,a.uotlon
·fl880)
• p.,
22, ne.
quoted
by
~mesa,
it.
·H.,
A
'llew Veriormn Ecl1tlon
of
Shelte,epeare , VI
tr
,p.
i(fcf
~
.
-~,,.
.a
-...
-
th0
ps.r·t
<)f
hie·
parseoutod
b=rother:-t·
Gerv1:nus
seems
.to ,
__
,
.
..
think·.
this
-vmuld
be
the
ee~ae~
. lte
·finds
botl1 iM:,ts qt1.ite
• . . ' . .
..
·,
•
..
' . ' - ' . "i• ' . '
nntuxal.,
and
in
aooordanoa with·
the
che.:flf3.cterse
68
·
:S,.:rt.
hi
·
o~der.
to}
~sason
in
·th1s-tns;l$.on
1
--G.arv!.nt1..e.must
b$
reading
t~to
·!!
:,tgu
:Like
It
mot1vas
1
snd
1nduoematits -for
snob.
.
.
,.
'
..
ehangea
.•
,
··
As
Shak9speare
p~eaents
:the
play,:·_110w.e-ve~,
\;
..
.
..
. . . . . . .
..
.
69
]!rederiok
·
ana
Oli-vQr
eppasr,
bo·th,
lnoon~tant
e.nd
oltengeable,
a.nd
i;}l.si1'
l'spe;rt;anoa
l$
ca absurd
e.s
it
h eudden}0.
'.
. · · So
f~:r,
as
t~e
·Duka·
mna
.~rl!:mao• s
b1'0ther
ere
oonoe~-
e,1.
,,e. -le.s1l~
ao
·not.
care
whet
_thar
mozjilo
after·
they
ful~-, -
fill
thelr
purpose
in
th~
.pltly
•.
~onoe
thotr,
111~founaea- .
3
e~l.otiaie s
b,nng
·
e.baa..t
tlte
;ttn1o~
of.
Ro
eell:ncl
e.:nd
Otlendo
in:.
the
Foretlt,,~,f
.Ar.den,
v1e
are
r~a~r.
to ;d1sm1ss
"\ihem
fran
Vl _
· ..
_.·
...
__
· . .
..
·_
.·:.
otir
.thoughts,
: ·
~t
wai.t
:~
Olivar
end, oeita:
fail·
l.n
·
love
. .
.
.
~
. .
vitth,
on.a
another.,
,.This
ls
''tmt
one
tu11Ttolt;tt
-~1p:of·
the
13:ru.ah
:inhtol'l",
t\S·
sw1nbtu:'11e
a.pt~:
seys,
~:bJls
_
left
sq
us:13
a,
,
ltttl~·,
smear
in
·
ona
oo:rner
o
:r.,
the
oenV!UJ" •
,.a,
No
one
of
the·
eudtence oou.ld
..
aver.
·hnvo
dott'btett
.tmt
A~s
You
· Like
It
., . ; ' .
~.,,~*41t·w·••=-~
wottld ·
enu
happt~,7Z
but
the
tmion
of
Celie
end
ol.tver
:14.'
. ·74
takes
even
tha
e.udtenaewby
mrprtse.
The
playwrtght
d.oas
not
preynre
us
for
this
betrothal
as
he
docs
f'or
the
two
marriages
in
Twelfth
Night~
5
llro
3ohnson.
who
ocmmanta
on
tha
feoil!ty
with
whtah
both
Rosalind and
Cella
give
up
their
hearts,
thinlcs
that
Cella
le
to
be
forgtven
for
mu.ah
beoau.se
of
the
heroism
of
her
f'r1endsh!p~76
Doubtless
this
is
tru.e.
but
it
is
also
one
rae.eon
w~
\Ve
think
she
deserves a b
ettei"
mate
then
vie
imagine
Oliver
to
be.
on
the
other
h?....lld"
the
a.1:i!fiao.lty
1n ohe.raotertmat lon
may
lie
not
a o
mt1.oh
in
the
lappy
end
as
ln
the
unhappb'
beginning
e
Perhaps
ColerUlge ·
le
right
ln
suggest!~
that
flQl.ivar
i a
made
too
bad
ln
the
f11"at
.,,
scenes~.
Age.tn
0
the·
mating
of
Cella
end
Oliver
is
not
of
rt1t1.oh
moro oonsequenoe
to
the
play
than
that
of
Phebe
and.
'
..
Silvius.
"The
couples
who
have
a.
more
eaaent1a1
be1ng
--
Touchstone end
Audrey•
Orlando
and
Rosalind. ...
are
deltghtfullf
-provided
for
f'l?:>m
first
to
l'ast~
1
:t'
78
And
however
we
feel
about
thg
peremptory
fashion
1n which
the
74
..
l;bid••
Po 164.,
75
Ib!do
76. . b .
Johnson
..
Dro,
aa
quoted
"l!
Fu.mesa, n.
Ho,
·1
!Jew
·
Variortun
Edit
ion
of
1
~liakespeare
0
VIII,
Pe
=s94
•
??Thaler,
.Alwin~
t'Shakspere
and
the
Unl:nppy Happy
Ending"
1
Publications
of
the
·Iodarn
1.@.nJP.~-~e
Aasoo1e.t1on
.2.!.
ilme~ioa•.
XLII1Septe-t
2) ,
P•
1:§,.,
118
n,l!j!..
1>
0
750.
55·~··
plat
'1s
wound
'up,
we
b!tra.~;:th1nlt
tblt
ffl9.tt'ere'
ere
'mendec1
muoh 1ll
George
Sand's
·aa.apts.t1on
of
tm
play
1
in
vih!oh
' . ' ' ' . .
" ' ' . '
':
' ' . ' •
'I
. ' ' . ' '
<H,l.ta
1
s
hand
!El
transferred
·to ·
Jaoquaa.
9.
After
a110
As
• I • ' •
~
'
~
' ' • • •
Yott
LUte
li
is
not
to be
talten
too
seriousiy.
It
1e
~
t
< • •
.
'
"
·'
'
"fantsat1G
stoey-
of
fortune•
s v1o1Ss1
tndee
e:rid.
love• s
de•
I •
~
• (
~
' '
~
' ' • ' ' '
,'
: ' • ' ; ' ' • '
1ers
such
as
never could
literally
have
happened
in
the
' aotttsl
't1ol?ld#:
so
'
tn
'a11it'e
of;
the ~eriousness
mla
'unhappiness
··
..
·
,.
. . . . · ·
.·
·
',
·
..
.-81
!n
1
t
O
none
of
1 t
cuts
deep•
And
so
the
radical
oonver-
<
,•
I ' '
'•
'
sio:a
of
the
wicked
Duke
end
the
lnstanta.neoue
regeneration
of
the
malignant Oliver
era
onl:9'.
typtcnl
Of
tl1e·
·~poet1o
· . · , ·
··
. ·
..
·
·.
·
··
...
ea
· , ·
pieassntry
1
'
'of
the
whole.
' '
Dr~·.·Jolmeon,
as
usu.alt
·ob3eats
on
moral
grounds
to
the
haste
wfth whloh SMkesp~ere
closes
As
l:a
.Like
ll•
By
suppresstng
the
iU.alogue
bet'ween
the
uai.rping
Duke
and
the
he~l:t.·
be:
feeie
tm·t'
the
flrems.tt
st'
lose$
an 'opportuni
tr
to
·:
·
..
·
•..•
'i
''
...
:·
·.
):.,
':
:.
·
..
: . : : .
:·.:
..
·',
',
.·
. ·
...
:
."93
··--
exhiM.
t
a
mo~l
lesson
v1orth;V
of
his
h1ghest
poviars.
suoh
.
.
2
or1~ta~em'
is
not
onir
1tnpert1n~t
:~o
oomea.i·,
,but
tt
also
fe.!ls. to
consider
the
fact
tmt
suoli
a tU.alogo.e
w:>u1d
be
entirely
ont
of
:plaoa
ne~ir
the
end
ot
the
pl~,
v1hen
'19
.·
' ' ' ; ' ..:
',
''. .
0 .
'.
'
'''
,·.
Svv1nmirne•
A•
0~
0
!
~tu~
of
L)'.bakasnaare,
P•
~51~
8
~Winter,
Wlll!am,
t3helteanesr.2
on,
the
Stae;e,
II,.
P•
220 •
8~
tltnrst
•
,R,<l~rks
orl
the
;Di:f£:erona8
,s
.
iti
Ill1ako_A1>8are•
s
. . · P
at
·
·.
a;;ot
p,,
~
as
quoteu
oy~r.ness,He
1f.,
0
A
·,. · ..L,....
o.r1,o.rt!}11
Edition
of
S;hekee~ea~~
VIII
0
P•
391';
,.
8
'\vtnt8l't
William,
!3~k~a~aro
m
,;i~.
,$ta2Je,
9
Il:i,
P•
226"
..
85
....
·...
. . . . . . - · ·
· Lotm~f:?u~, T
...
R.,
Shakes!?ea~ !!t·
§i
Dramatic
Artist,
Po
411.
·36'
.
·.
.
everything
ahou.lq.
be
mpiuly
00mins
to
a toau.s.
It
ts
bad·
eno1.1.gh
tmt-
the
lee.med
atsqu!sition
·
of
Touolp:Jtone
upon a
lie·
sev€il
timaa
camovod·
should
come
in
~the
f!ml
eo~e.
when
.
'
. . . . ·
..
···
·
·84
things
ought
to
be
hastening
to
s
O~"l
alusion
~
But
this
.
.
tapaeoh
~s
1
ta
o r1g1n
1n
teohnloel
·necessity•
something.Jma
to
fill·.the.
gap
while
R?salind
1s
ohenging
beck
into
the
olothtng
-of
~r
oim
~.
The
set
speeob
fer
!ta
own·
sa1ta
· . · . .
•'
.
·.
. . 85
was·
cqmmon
enough
1n
Bltm:ib~tm.n
drama.
Almotat 1mr,oaa1ble
to
explain
rxwaY'
ts
the
introwotion
• . . .
.·•
... . . • • w
86
o.
f
wrman
in
the
1e.et
act
ot
Ae
You
LUte
It.
If
it
wsre
"r:J
.........,.
__
_
not
tln
t Sbakaepee.re
ia
napable
of
similar
inept!.
tu.des
eleewhe:re,
we
might
oons1d~r
·thla
flaw
an
imposition
upon
Sbakea:pee.re
by
ano·ther
ht!tid
or
e"'.ren
~
bnst1
alternative
to
satisfy
the
publio
oa~sor,
who
ob3eated
to
church
r1tos
of
t'.Br~1age on·
the
1rtago •
8
7
~t
as
1
t
is.,
the
inee~ion
·
of
Ir;yman
·
ia
ei.m.t..,:cy-
a
pteoe
of
·"sheer
botclw1ork'\
tha
kUld
of
ert!sti.c·
improbsb111
ty
whio h
runs
o.lraost
in
l~rmonioal
·
·ea
· ·
-
progression
1n
Shakespear~.
'1
1he
epilogue
to
~
!,oJ!;.
1..ike
.it.
is
liket.i'd.ee a
superfluous
appendage.
:
:;
s,.
The
problem
whtobqo:nfronta:
O)?it1oa
in.
the oatrtttro11he
of
!ltt;C?h
~q9.
~=-~~!
tJ.9.~.h!nS
1 s
tlnt.
11reaented
b~·
tbs
Hero-
<!.l
..
nuiU.o
story..
Tm
ou.tcoma··of
·th~
Bastr!ne•lleneatol: Plot·
Set,ma
to
ant1$:f'y
all
the.
commentators:
except;
the
p,at
:carapball;
VJllQ
thinks
Benedick'
a
llfe
\till
b a made imbai,py·.
by.
:aos.tr!ce
•·e
...
·..
.
..
. .
..
·ag
supposed..
bntl ,temper,.
·.
BU.t
*
es
I liave
s...~1d,
t t
is
the
main
.plc,t
whtcb
ha.a
·a.l?oused
the
wratl1 of.
aohol.Etra.
Rodariolt
nena,1ht most
emphatically
says
thlt
"'a
girl
eltmaered
and
!ll•traeted·
to
an
unutte~ble
e:gt$nt
!s
not
an
ob3aot
to
.
~90
svia?cen
marrimentn
•
Tll8
p~notp~l-
event
fs
grave
and
·
.
'
.
sgito.ttng•·
li'
11ot
tmgto
1.
Mr,
Beneu1:.t
oont1:nueElr,.
and
the~
'"-1
should
1:,e,
sertotta
atonenient
:foi:-
·the maltoious
·e:rul
..
,.,anton
in-
.
..
Stf
lt
:
offered
to
ttero
by-
non
'Panro
aitd
Claud
lo.
.
Insiret1.tl
of
th1s
O
ho,,ever
t
He~·
f mall;v~'.
t
1
lithout
lwe!tation,
marries
,.
}!er .sl.anaerer.,
9
1
l.ndre\~·"":ta1,a
also
regrets
t~t
·
l3Gi1ed1ok
'
.
.
lets
Ol.a:ad1c,
off. so
EHlS!lt,;·
w!th
ro~tempt
and a
ohatlenge.
92
But:
11r
o·rdor
-tiiat·
the
p~y
m~:
b.G
r::r:
oomaay,
the11te
ts
u.n
J:v.ersa1
l:'Eloo
ne
i'lis
tlon
1n .
t
ha
twinkling
t:J
t
.~9Tl~lel? •
.Al1ivtn
•.
':Sliaker,pere ~nil
.the
.trnln1>1>Y
Happy
Ending",.
Pqi],!1.9.!!'!t.1.ona,
.".f
..
the
..
·.Modem.
!l:lnpff·
1u:1soo1e.t1on
of
· ~~li9A, 1ft!t'Tsapt
o~
!~2?'L
•. P~.
1o
•
~-
·.,:
·
·
98
nened1x,
Roder!ck
0
D!e
S1'.e~ketJ
eeroma:r,.ie
(1873),,
p.
319,
s.s
quoted
by
Fi.imeeet>
··
•&
1
i~ew
Ver!ocy~
Edition
·
of·
Sho.kespoare~ XI1• ,Jh, 377
...
_._
•
58',''"
'
...
,
'
93
en
eye.,·
..
:·.
Mr
.•
Sv1tnbt1ma
,.
on
the
other
ln:ndt
feels
·that.
the-··
ultilrate
me.rrlego
0£
I!o:ro
c.nc
OL~tid!o,
though. ln·
ttself
a
doubtful~
deslmble-
oonau.mmet!on.
does .not
tnar
the
pe~-
..
94
:r.eottotr of.
the
ple~
•·
Tl1l€
ts
the
1:navf.table o.oncfl1ts!o11 .
f.f the
8,Gtion
!s
mt
to
come,
to
a
tl~£;10;
end,
end·
B tre,g!O
.
·95
end
·would
ba
pitt:t:nf'ally s.nd
groee~
out
of·
pla.oa.
hara,·
As
Brand.er
itatthews
s~eets,
the·
1..1.ntotr.
of
the
delioete
..
Hero-
tvtth
the
e!-mllori Ole.ud!o ho.a abimee.n·t
trag1o
..
:
poestbtlit!es
tf
we
take
l t··-eeriolzs:cy,
,.
m·t
thi.a
ts
jttst
·
wl~t:
Sl~ke~peare
tloes
not.
,intand,
9-
6 ·
Hero
r..u::ld
Cltlttd1o
sro
4 •
only
~s.lloi.llc,ey .to ·.Beatr1oe:);®il Benadf.tJk"
.-
Ole11dio*J:1
£!.eo
·
n,molation:
of
Hero
€,t
the
.e.:ttt>~r
gives
the
tm:petn.s
,for. .
Deo.trtoe•.e
oomnY!U:14
to·
''ltf.lt
91eiu1t
..
o~,
,1r1h1oh
·in
t1,'m,i
ts
e.
atrect.
e:ppEJCl
to·
Denod!olt' s
deepor
sffeotion
for
Bee,Jtrioe •97
There .:ta
not
much
doub:t thE'.t the:
.wJ:l..ole
of.
M111c~!i~·~
Abq;t1J
!T.Q~tl!~U3
lloa
w1thiro
tbs
sphere
of
oome(11•
\Ve
have
l.ir.rtenf'd
to
the
cor1varsstion
of
Don·
John
t,,71
th
Bo~chio..,
·we
know
that
Hero
!e
u·mooent
end
that
bar
death
1a
to
be
but
a
pretenae,
and
at
the·wetldiDS
we
hn,re looked beh1nd
tbe
· . . . .
98
veil
whioh
covers
the
face
of
Antonio's
sa.pposed
daughter•
The
dteoovery
of
Don
3ohn
1a
plot
altnoet imrn.edte.tely
after
1t
ins
begun 1a
falr
warning
to
the
audtenoe
not
to
take
th1a
part
of
the
plaJ
too
seriously.
"Bu.to,
lest
the
audience
ehoitld
feel
too
assured.
of
the
happy
entU.ng •
this
is
aeJ.a.yed
'
..
. .' .
.··.
.
\l9
.
br a
series
of
tmprobabiliti<:rs.'*
wmt
Mr.
Benedix
oalls
nth.a
scandalous
1nterrup~ion
11
of
the
marriage
in
the
fourth
aot
_
reeults,
then.
only
in
l
ts
postponement to
the
fifth
aot;,10o
In
th1s
way.
the
«a.ta.strophe
oomes
to
us
on~
after
.
'
a
gradual
preparation.
~he ma:rr1age
of
ltero and Olaudto
do~e
..
not
et.i!l)rlae
ua
as
the
unlon
of
Celia
and
Oliver
ioetao
ttor
!s
ariy
softeni11g
alose
neoessa:ry
in~.~
About
1tothinf£
ltlte
that
tttJhloh
oarrtes
1.t~
from
Scylook
1
s
judgment•
hall
to
Portia's
vtlla
at
Be'lmont.101
As
we
brinet
to
s
olose
th!.
e oone1dera.t1on
of
the
ca tsst:rophe
!.n
r;~ttoh
Ac1o
Abon.t Not,hinS.
1
we
mu.at
egs.1n
re•
mind crnraalvea
that
Shakespeare
ia
ml.
Elimabetban
writing
for
Elisabetbans.
And
the
averPge
Elizabethan
a.tt1
tude
98
. . . . )
E,c\,tnbursh
ReVi/SV{ (Ju1',
1;
1840
.t
Po
483
0
as
quoted
by
11iifuess,
Ile.
H.,, ! !!!!
Ve,riorutq
Ed1 ti.on
.of.
a.hake§P~S.l~~~
XII
l
p
••
~5:£
• · .
·99
. . . · · . ·
,·.·
·.
·
Thorndilte,
A.
R.,
~S11s,l}
Oomedi,
P•
110.
10
0nenea.iz$. 'Roderic1t
0
Die Shekes:eearomen!e {18·73),
P•
519 • ·
ss
quoted
by
Furness,
lt.,
ff.~
!
fiew
Varlornm EiU.tion
~
.~~kes:eeaz:e,
X~l,
P•
~78~
lOlPld1ll;bt1rr!S1l
}l~vie~
C
311~
11
1840)
1
P•
483.
aa
quoted
by
Farness,
1¥.
n••
A
Maw
Vartormn
Edition
of
.s.bakespeare,
0xrt;
p;-aG:to
-
tows.ta
marriage
i
a
not
the
twant!.eth--oentu1W"
view.
Stxtsazrth•oent-ury
society
believed
tl1.&t
s
woman
ts
on:cy-
buei
n.ess
in
life
was
·to·
get
mar1'1ed
ea
soon
a.a
possible.
It
vras
better·
thlt.
the
:mitor
should
bring
money.
but
good
enough
tf
h9
brought
simply l1!msalf
o .
"Tho
imi1ort.cnt
thing
wee
to
purol1nsa
the
husbana·.·nlOS
The
husl:uind
himself or.
the
moans
by
whiol'l
ha
was·
obtained were· o:t
little
momimt.
Moreover,
mar:t.'i.agea·
of'
oonvenience
~or
man·
were
a:tso:.
in
e.ooorua.noe r,1th
tli:
oil.atom
of
the
tima
o.
For
that
reaa,n, W8
oai.tnot
let'
ClS'ti.dicr•
S
'readiness
to
marry
'1e,nothor
Hero""·
or· Bertram•
s easy
0011.sant
to
the
me_t
oh
with
Le.feu
• e
da11.ghtar
--
in
All's
Wall
that
Ends
1ve11·
~
oount.
too
~..,.
-
..
'
-'~
'
heairily-
against
ti1em.1o
3
Whan•
then,·
Sba.l~I>aara
~r1
..
1es
Celi.a
to·
011ver and
Hero
to
Olaua.to
~
or.
aa
we
shall
aee
later.
a
Helen.a
to'
e.
Bartram.end
en
Imogen :to a Poathurtnis,
it
may t1ot
be
be0St).;S8
lie
is
oareleEJS
t">'r
l1aa·
a
false
!dea
of
:romantioian,
bttt beoattse
he
peroa!ves and
1'.1'.liiGrSte.nde
· · ·
· ·
..
·
·.
· . . . . . . , ·104
his
aua.te11oa's
attitu.a.a
toi.:vara.
matr1moey._
· ·
..
Anu
before
oondamnl:ng
the
'''marital
aaorifloe".
in
ptuQl}
A.d,P
About NothJ!l$,
and
other
Sl:Bkaepearse.n
oomedias.
..
*
from'
fl
inodern
point
of
view~
v1e,
should remember
that
t.he
woman
of
these
plf\VS
lalOvl
their
men.better than\ve
do,~t1
J
]}el')hapS.
kl1.0\V
tl~8lll
to
be
lll0r8
1fkeeble
tht!n
the
most
obvious passages
.of'
the
notion
Stiggeat·.1~5
Tu!oraov,r,
as'
lJf
•
Thal$r
~eminda
US
0.
women
ettli
ms.J;trt
man
to
reform·
them(
"'
't·
..
!
And
1n
thi"B
event~ Calta.,
lI$l*Ot
rllld 'the
others.
have .th~
'advantage
t:Jf
aeal1ng with
sinners
whosEi
past.
is
':tmovm
and
Whose
futura_v1ill.lle under
strict.
observ~tton.lOG
.
The'
ostt?
..
atrophe
of
~-
'l\110
Gentleman
':s?!
Verona. forms
a. C
onnoo
ting
link
b
et\ve~n
the
, ttvo
grotrpS
Of
ShaJte
Spee.re' s
.'·
...
·
..
••
..
..· ! .
/.
.
..
: . . . • ' . . . . . .
...
.. !
aomecu
..
e·s
·in
·irvhtoh
the
ilenouement
does
not
seem
to
be
the
•
1og1oa1 rei10.lt
~f:
what
·11as·
preceded., .There ·te a
oertein
asrtottsnees
'about
t·ne·
·o1.r®.meta:noes
'•attending' the
'.
·/·'
.'
'.
. ..
..
'''.. . . . '
d.enouem.ent
w~oh
1s
hardly
appropriate
in
the
light
tone
of
th0
vd101e.
On.
the
othar'':m.na., however.
the
final
t11SPO£d.
t!.on·
<>f·.
th.a.
oharadters
in·:~
Two
Gentleman_'.of
...
Verona
1s' 1n'1teepmer'wttll th~ oomic:(epiSode snd
the'
''.
~
eiightness:
of:
chareoter1.sat1on
tbroi.~ghout
..
the
play.,
Tile
ber1a."0£\1rit!O!Stt1
fus
long
S~lcen l
ts
:S~OtlS1ng
forefinger-
at
tha
final
soene
Of'
t_his
play,,
attd.)n. · ..
particular
at
Val.an
tin~'
e.
offer
to
eu1~"ender
the
womnn
he
loves
and
who.
loves
him·
to
the
ts1thlase
Proteus.
who
not
'
'I
~
,V
'
~
'
t.
10
5.rhs1e:e
~
·
Alw.f.t.1;
.
"Shs}:ape
re
nnd
the
Unhl:vw
·
m.,pP3
Ending.,,
?.P-blioa~j~op.~
o~
the
r.~06.ern.
Ia~~r~e··Assoo1at1on
S?!
. Amerloe. 0
XLII-,
Sept&,
l927),
!P•
71>2.
. .
106Ibia.:
p~
75~~
' · · · '
on:cy,
tleasrts
hts.
-own_
mi~tress
lJttt
·
also
ettempta
to
ravish
Velentlne•
a
mistress
o ,
Wi1an
ve,lentine
asya
to
:e1"teu.a,
'
.
,;
fl.All
·ttiat
was mine
in
Silvia
l
gtvo
theo1t,
ha
1 s
0-
es
Qulll~~Oouoh
Stiggaate,
emptying
the
bebJt
·w1t11
the
bsth~lOV
' ' ' • ,_$.
.,{.
Ha
aurranda1.,s
I1is
t~e
love
v1itb
a "mav1ltlsh generoattJr
tint
.
.
.
b~illg
.a.own
tho
wrtein
on
i;b.e
J;lsy
•
-but
it
aerta1n~
u
blows
a:J.l
e1mraote1')
to
the
w1na.~
1
/A0
9
We
thinlc
we
-
know
-
Valentina"
s .Olw.rtJ.cter.
e11a
tl1erato1~e
i~e
fea1
thle
lint
lUte.
s
s:fo.1)
in
the
feoa~110
ffTh~re
:sre
DOW
110
Gentlemen
in
---
If
lass
p:tot-ureeque.
in
ii1at1on
,than
Qtttllor-Oouoh.
other
crt
tics
~~llerdly
less
e!i1pl1a't!.o
eb~.tt
the
-
tr.ie.a<:u;rJ.ao;y
or.
tllts
encU
..
ng
t Tbe
all
bit.t
tmsnlmous vertUct
of
ou.t-
stanuing
Ol?i
~i
es
mic1
oanmenteto1J5.
ai1
the
_way
f'rom
F..snmeri>
3omoo:o
e.nd
Oolt>rtuge
to
Lot1..nsb11:cy-
tr
Baker snd Brana.er -
ltatthoiJrn.
is
that
the
c1enou.ement_
0£
TJ\S,.
!v1,t'.l
µ-entlem!t}.
,2! .
Vero!!~
oanstitu.tea a
'"violation
of
the
·truth
of
l1~a"'
t
na
lOVoanibr!dge
ed.
of
The·
T1.1r10
Gentlemen
of
Verone~.
-Introduot
ion-;-i
.-rz
0_·
_..
"
~08Qu1ll~r:?o~oh~.
Sil'.
Artlm.!' • .!Q_t~ on
,Shekesnee;re
I
s
J.i0i."
..
~?1EL
..
-p
1
P•
67.
_.
109:rbido
l:t.Ooanbridge
ad.-
of
The·
Two·
G-entlam~.
of
-V~rona
...
.l)ltrodttot!on=;·p.--Xs.-····-.·
~-
* -
•'
I
..
,.,.TJ"
111 ·_ - . _·
_.
•,
,
Qutllar•Oouoh•
Sir
A:rtl~',1
Notes
on
Shelteepasre•
s
•r
.-ittti- 14 -
!!17
- - ,
_,,,..
__
_
J!9.J'~!~~-~l?•
pe
u
I
tt
'ilompl~t'e
.eonfe·eston
o:t
\1,rt11natio
tne°ilti tude:
1
,,
that
tt
i's ·
'e1mp~-
inqutte'
ou.t
0£'·ne:ta.ire1tt,'
'flwholly
i1.noonv!noing"
end
n
e
bsui,a;,.
:.
112
:
·
At·
lesst
thras
of·,
tha~t,
o:rittos
•.
}!atltaar,
Colar1tig·e·
oila·
Qu'tile~Oou.oh~.
feel
~tbitt
,
Valen
ttne~
:~r
prf.t1,os1a,:rott:s
off
er
'tf)
·
J?~t·eu.s
is'. tao' tlllnatural
a'
:P.e:t11~e·;
·to
be
eliariled;
to'.
·,
Shakespear~--
ana.
I
that
the
6b'
jaQ
t
it)nat
sl)t3
eolt
Of·'
Valent
1ne
ttnd
all;
tint.
follows'
lt;~a~e
dorri~~~ Other
Oomtn~ntatore
do .
not
g6.
sc/ftir
aa
to
·say'
Shake'spea~: did
not'w~ite
the
£i£tb
sat.
as
it
no\1
stems/
int they
a.c
:aay
·tnat·
1i
the
1~st
eoen~
is
Shakeapeara•s.
tt
does
not
ata.m
in
:tta
final
£om•
:
It
/1a
evi.ds.1.t:
tint
tba
a.4nou.emant
·
:1.s·
baul;v
hurr1ed,l.l3
S?l
d.
1:.fr
the 'ftne:f
SO<r!!e
&\S
~O
t
UOm&
dOWfl
to
US
in
tln
~b1;t(lge<l
or
O
o~npt
Ve1~ston~
l
t
m~y
1)0
$
rou.gli
eltetcl1"
Which
the
't1rama.t1'stj
'for
aome
1~00.aon.
rteglecitea.
to
revise.11
4
'
towuen
.,d11nks
.
s11a1taapeara
bana.aa
t
118
ple;r
to
the
so
tors
wbtia-a
po1-.t1on
of
tt
viia
at1l)M
a
..
he.etr
·Sk~tol1.
and
·that
he
left
tha
lie1lC1tleme1it
for' futtt-re
v1orltil'.lg
out •
1
1
5
'
It~
..
Rolfe
goes
a.
step_·
fitrther
and se,ys
tlie.t
if
The
.......
l12Thaler
0
.l.lwb1
1
~Shalt.spa1~e
and
tha
Unhappy
nappy.
Ending''
0
·
~11].t.oe.:t~t.~~~~
o~
th<:l'lli,.ll~:ftn
·!Pnr:tt1?ie
Ae~ooi_a.tt.oa
S!!
'..
~ ~~
x~~z-rsei,t
oc,
!927).
»~,:~.
:'l.~ho:r.itdik~
0A • He•
Jm'.!,J.~
Q.OllJ.S.fil
•
P • 99
e
l14tRolfe
td.
of
··Tho
rn~o
G·o11-tlatien
of
Ve:ro112. 'Aviialldix
.
Ptt
l~l.
--
~,11ur·
• . • • ,,..._ .
.-
~
.,
,.
. ,
0
lltiJ)evira.en
•.
Edward·
Shek0S""ea1'Je,
p
·-
50
•.
II' •
..-.
-;:-
g.
' .
0
..
Two
Gentlemen
ot
Verona
had
been
oarefully
fi.ntahed
or
re-
~
----
-
,,,,..;.o:~·
.
'.
·,''
\ : . '
Vised.
Valentine•
s
!)erplex1ng
proffe1'11
of
S1lv1a. .wo~ld have
been
st~ok
au.t
•116
After
l'roteus
and
Valentine meet tn the
forest
•..
aome?h1ng must
.be
ee~1d
or
.done
to
lead
;Julia
to
.
be•
tra.1
~r
sex.
Permps
.in
the
~eltm1nary
elceto~ing.
of
.the
s<h:me
•
Shsltaepeare
could.
tbfnlt
of
nothing
better
for
brit3ging
about
this
revelation
then
the
moat
unnatural
offer
of
Valentine.
e.t
\vhlol1
Julia
cries
out
11
0
ma
unhapprt"
and
faintso
Aa
eoon
as
3tll1a recovers
ft1am
the
swoon,
sli.e
puts
Oll
end
to
the
whole predicament
by
means
of'
tho
r.tng
whioh she
vms
to
\ieltvar
to
Silifia~
117
Directly
opposed
to
Mr.
Ro~e'
s
ldes.,
hov1ever
1
ts
the
vtaw expressed
by
Oh~
lee Ir:i1ght •
Mr•
Xniglxt
teals
thAt
,;fl'
tha
uromat
1st
would
have rets.tned
the
renuno1st!.on.
of
Valanttne
even
1f
ha
had
revtaed
the
f 1ne.l
scene,
bu.t
thSt
ha
would hava wol't:ed
the
idea
out
and
exh1b1
tad
a
struggle
of
salf•danial
end a aa.orif1ce
to
fr1entH3h1p• '1whioh ve-cy
yomg
people
e.re
imlined
to
cotHsiiier
possible"'.
118
The
o~~use
3uet
g:n.ot
ad
q~ti
te
mtura11y
leads
to
e.
disouee!on
of
the
th~ey
of
w.
Vie
L9.wrenoe
and
others
who
urga
astruly
of
cor.nparatt
ve
literature
es
a
basts
for
undorstondlng
oertain
of
Shtlkespeare• s
pleya.
Arrr.
L'lwrence
3.lt>Roli'e
ad.
of~
TttJO
Gentlemen .
.21
Verona,
AppencU.x,
P•
1910
117Ib!d~
ll8Kn1ght
•
Charles,
Studia
a .• of.
,Sha.lee
SJ?eart1 p e
101.
medieval faeh!on:· a.bout the·
virtue.
of
fr1enush1:Po
Tlia
fo·ou.s
of
the.
i,1.
1 Pro'fesaor
,r.a~1rena~f.
crmttnuea.
ts
not.
on
love
at
a.1i~
bnt
on trteno.ehtp.
in
scoora, than~ 'tvith. tha·
eodtf
.
ot
botwr fo:r
··swom'
'friends·. the' parf'eot'
tr!end
.:tnttSt
saorit1oa
fnrer~thing.
'inoiuding
his
1ady~1ovt3•'
to ·tlie de•
mi~rnds'
of
this'
vtr·tue~119
:·
'.
\)
i
Thi.a
exeggera:taa.'
afls(rtton
of
drie
man
for
another. I
bcwevert(
a1.H3Urd
it
mew
seen'.
to
us
toaau
120
an.a
bowerve?P
foolish
SiHl
masn1ng1$BS
it'mtlY
'ap1,eer
1n
the
'p11\Y.:un·vi1aa
s'l:ill.
1:1.
J)otmt
:too:'O~
· 1n
simkeSl)eG,re;
s -'time~
122
~here
ta
no
'
.'
. . . •.
,,
' l· .
reason
to
think
~that
ti1e
sttu~vu
..
on
seeined·noviel
to
the
. tv~ll-.reed
Ellsabethan
•123
Tlle
sto17
of
·a
msn·
gtv1ng
U.p
his
batl\lthecf
to
a
friend
had
been
repeatedl;v
told'
slr.o
e
the
·
...
· . . . . . . .
.·
·124
.·. . . .
twelfth
centuey {Petri1s Alphonmis). And Silakespeare•s
owri
·sonnets
express
a submtasive
r811.u.no!st1on
of
the
11
9
:r.awrenoe
•w•
w.,
~
"Th.Ei
Meaning
of
A_:U.
1
,1:!
}.'l'el1
~t
Ends
Wall
11
• Pu.blloe.ttons
J?l
t
1mitiom~J£lll
~.a
a
Iesoo1at
ion
.9.!..
$se.rias~
120Ib1a
~
.
..
1,-.,.,.,
~
l2lnrandes.,. Ga~rg~0'.Y~i~li~~ .§Jlakas~e.ar.e,
P•
~6.,
_
l22Lawrenoe, w•
w.
1 nThe ~teaning
of
All's
Wall_
.thaj; Ends
W,ell",
,Pl.1:b,11o~t1ons
2!.
t~e
!{o,de~x:(rhgre,se,
· · ASS~etetion
s.l
~~mcr!tm~-~I:i\
P•
a.
o · ·
l23Tttuor
ed~
of
The Tivo·Gantlemon
of
Verona,
Introut00t!on. P•
XGo.
-
.,.,.
·-
124
. ,
!bid.
.
a..
·12a
beloved
fol'
the
sake
·of
fr-lend.
and
of
frien
ship~
·
, . !Jotv,ithstenu.ing
these
eren,ments,·
1tr.
lotinsb,;0.17
feels
tlnJ~ ·
Valentine•
e off.er
ts
a
tr!but
e \?hioh
love ooula ne.ver
have
~id
to
friendship
in,
my
y,e:rtoa,'-
26
Mo,re
than
that;
it
v1ou.ld
bJ1ve
been
mo~n:-·
wrong
to
·Wve
patd
tt
111
The
Two
.
;
----
9;_e,1.1t.1$rne:q
_gt
1[~ron~,
_baoauaa
·
it
off
eots
the
~~
ea
of
oth~ra
es
ti1all
;as
that
·
of
the
men
who
meltea
the
offer.,
Even
tf
1t
could
'ba
o.ooepted
e,a e
true
,p!otu1~a.
of
the
feelings·
ena.·
. ; • I
f.deaa
o--?.
some
lYJ.rttoulsr
centu..1~
•
?\I1
11
•
!.£tunsbu.ry
oonoli1aea,
tts
a.ppeal?anee 1n
thts
pleoe
gives
tt
e.
charaotar
or··
'
.
.
;.
tmivereali
t17
and.
m!?;es
it.
tl1ere:&n'.·o·
1nexcmsable
,,1a
7
.
And
so·
the
a!i.
·tice
oont1tme
in.
their
deatre
to:
condemn
or
·to
cnpletn
away
th~
unnotu..roJ.nesa of:
Valentb1e
1
a
aotton
•
Time
o.nd
spnoe
na11
prevont.
us_.
from
:.ao
ing
mo~e
than.;
to
.,
.
, mentton
the·
m,st
inga1i.oo.s
eo
lut1oi1 ·
offered
for
the
problem• Aooording
to
this.
so.ggeetio:n. ·
m.nde
by
·Drta
:eatteson
and
altered
by
Mr+
nondt
Velentine•s
·
n11.11
tl'w.t
was mina
in
Stlvta.·
I'
gi,re
thee~
ia
to
be
regsra.ea
as
meaning
tbs.t
Valantina.
gi-tres
Proteus
his
rttfaotlon,
whtoh
ta
all
·tbs.t
1.e
Drenilea •.
Geqrs~.
W11.li21n
Sl~Jr~speare.
p •
65 •.
'
.
--~
.
.
126
:r.ounal.nU:':,
,·,
!iJ·•
Ro
1
,.
.~11.ake.~~ara
!.!3
.~~-Dz:a~]JS,,Art.lst, _
'ti\
·
368
· · · , , · · · · · ·
.
..
.
v•
• .
..
.
lB?!bido
4'1.
.
.
'
t~1.4r,
ld.S·
own
1n
S5.lv1s.
12
8
This
f!g,..tre
of
apeeoh
ls
then
ttnda:estoott.<
by
averycme
except
t1n.:u
..
e.
;who
,,
tEike
e
it·
11
tera1:ty
as
Valen:tf,111e'
s:
rent1tu:d.atio11
eno.
·hluj1"etti1on
feints
with
.
.
g1'1.ef
•.
·
:rn
o»tl:tel~
words,
·valat1tine
·means
to
of
for
Protau
..
s
his
love.
e.gsJn, !1h!le
·.
Jtilt~
tl1b1lt.:a.
l1e
ta
ofterinfr
Pro~eu~
h:i~.'
j~Jiy_,.
S,1.lvis.,
1:reeclleea
to
~:g.
th!e·
mu.perettl>tle
mea111ne
•
,11hioh
l1aa
esoa1led
irt1.1dent
e
for
t
ltree
O,ientttr1es1
v1ottlil
~r«~
be
apparent
to··an·attd1enoe,
on
fil:'St
hearb-g
'
..
A~
"ln~o
;ti!
-nn
..
•
129
V~··
..
4~Gilifa;?.
~
~· · ; • •
r
Bgl'.'ee
ttrith
itr
•.
Sampson
·t11l.t
$}\.1.\lceape~rei
e
~titentton
is·-wbolfy:
OllJar,e7en
·
tf·
v7hollr tmaonvtno!ng.130
~:
lllfa.1ent1ne
1s
the,
faithful
!k'lll'
Vl!10
waer
the
f°l'land
of
P:rotoue .bt,fore
he
·was
the,
lOVeJ?:
of'. fJflitia.·; :
Unlike.
Proteiis, ·
w!10
·vms
dis-
loyal!
even·
to
a
"O
t!lstatrt
f'1~1~r,ta;,
Velsnt!tw
Will
·oe.
loy~l
ovei,,
tC'
en -1noonatent f:r1snn.,
·at1d
the
·ip.o:t¥J
inoonetent
the
frtet1d;
the
greater
Valent111e
11
s:
loyalty,
·
vn1ttn
tho .
clash·
of
(fbltgatt·ons
· uomes
1
the
.:·nr!cn.•:
lofalt-y,
:!'!r~~~~shtp.
take
a
pr,aQeilenoa
ove:tt
the
eeoo1:1a:
loy~J..
tr,
love•'•••·
Por
hie
frten
,1
·
11~
.·
[Yalon
tine]
v1t
ll
.
Si
ve,
ttll:
h!
a
aee~~ee·t;
ppaaeealon •
·
·..
.
..
·
',
',
',.
3/~l
.
e.U
of
SylVH.\ th~rt ·
ha oould
oell
M.s
ovm."
10
···
. .
...
•·
The
arttfleleJJ:ty
of
the
is·m.,.a·
1n· The
·Tv1ti
Gentlemen
,.,.
"·'
'
'
'
.-...
............
.........,.,
..........
____
of
iferona
VJ&s
a.oubtless
eooeptab
le
en,.n1gh
to
sn
age
........
'
'
'
',•
'
'·
'j
"t
··.!
;
40~·-
e.eCFttatomed
to
e.
ll!ghly
anti
tl1at10 'ii
terai7
tntai,1n~e·tat1011 ·
~
, ·
..
· . . . . . 132.
..
·.
. . · '
..............
·
()l;
!OVG
anu
frienc1Shi::p
,...,
·
and
to
an·
ottdiel108
\7l'd.Qh
J>1".)bo.b~
thrilled
moi~e
easily
in
tu1ieori
wt'th
t
lli3
emotion
of
sarp~ise
·
·133
than
·wlth
tha·
enoti.'on
of
reoog1iiA;ton
•
..
·
..
tto11a1~
'l3r1dg~tJ
0
Who
hetf
wrt
t·ben
~·
tllU1!1inatire
e.i.;itt:1ol°e
0
.,.on
the
ta1flttbnoa
.
of
the
Audie:.:1eeTl
t
royef
it
Shek$apeera*
a
aud1<.lnoa
could: tor.-
g!ve
Pl'Jteus
and
eo(jept wttllout question
the
U1001100ivable
magnsnim!>itr.
of
:Vel~nt1n$
1
it
would.
ba beoeuas ot thet'r.
own
ind1f:f'erence to
the tu1euooessful
orim!nel
attempt·
Of
..
Proteus
end
beoause
of
a
moi~i
blunt:aesa
whioh
failed
·to
·
:d1~r1minate
between
the
two
meri.~
154
If
th!a
was
the
oSae.
Mr.-
Bridges
feels
tl'¥at.
Shalt~spearo llaSsed
0.\Vey'
from
mer~
'oQnoesS10tt
tG
tbe
BUd1G!l08',
~d
.O.Oh18
to
taka
tlU1T8.t''t"'c&ge
·of
·cl1etr'stupidtty
by·adm!.ttingt
Wh8r$
1
ha
,laltWJ
:tl1ey
Would
be
:toleretea,·
1noortS1atane!as
'or.
iwr.>(HlS1ble S1t1te:tto11S
for.
·.
. . . . . . . .
,'
....
,
..
. . . .
~135
th0
salc-e
of
dronet:to
e:troo·t
or
oonventenoa.
Tl1a·
,:raitait:v
·cS:t
sooli
·an
explanattott.
·01
the
·c1enou~ment
ln
:!1
1ha
-
ea
I
have
auggeatetl
befch~,
'tbe
'tnflttenoe ;of
..
Shskeepao.re*
..
s
&ttd!e~oa
·1
S
alwa1s
to
'lie
OODS1t1e:t\)e(1
VJhe2l'
jU{lging
bia
vm~rs.
152·
· ·
!bide
·
Po
16.
I • -
f -
13
!\W.ttha~s.
Brenaor,
.§h:';~~
£ll
!lo·
!?ln~r!Sht.~ l>•
'14.
154:Bridses.
Robert~
";n
the
Influence
of
the
A'l\d1enoe"'
0
· · ·
·-~
Worlr=e
of
William
SSJin}tespe~~Et,
x.
'Pe
524.
13-
5
11·
~10
.
_e
,·
49.
<fr.,
'
,,,,
····""'';'
',
' '
.·
''
In
comparison
with
Ve.lsntme's
readr
aooeptenoe
of
the
ttn•
oonvinoing repentance
of
Protaua
etld
his
inexcusable
offer
'
'
.
to surrena
er
Sil:v1a
1
tl1e
di.
eente.nglemen
t
of
the
r~1ntilg
threads
of
the
story
seeme.
of
little
sig,11f1esnoe.
The
ttival
lovar,
Thu1'1o
1
~el1nqu1ehes atlvi~
to
Valentino
with
poeaiblJ
the
wisest
words
he
ever spo~e.
"'
I
hold
him
but
s
fool
tbst
will
Hts
bouy
for
~
girl
that
lovea
him
not:
l Olaim
her
no.t,.
and
therefore
.she
ls
th1ne.n
136
Tm
~k~
1
S11v!s
1s
tether,
quiokl;r
exper1enoea
a
otv;inge
1n
hear-ht
forgives
Valentine•
and
gives
him
hie
de.u.ghtero
And
upon
Val.enttne•a
requeett
he
also
pardons
~he
outlaws
tvtth
·
whom
his
tuture
m n•1n•law bas
been
living.
Only
Slr
Eglamour
..
is
left
unaoootmtea
tor
•we
never
l~am
wlw
he
ran
a,t1ar,.
ne
1
s
of
no
farther
use
after
he
a1da
Silvia.
in
her
eaoapa
to
the
foreet
0.
and
eo
Shakespeare
simp4T
latl
h1m
rn.n
off
•
The
catastrophe
of
The
'l>wo
Gentlemen
of
Verona
ro•
--
............
' ' '
-_...._......_
semb1es tm.t
of
!§.
X,oa
L!lte
.!t
end,.
tQ
a
certain
extent•
t
ha·t
of
!,'!,<}A.
Ado
About
Not,hWS
in
the
general
reoon<d.liatiol'l ·
at
the
olose.
Bu.t
it
ts
easier
to
aooept
the
fifth•eot
so.
oonverslone
of
Jis Yott 'IJ!lte
It
tl:Bn
1
t
ta
to
s.octapt tb>se
...
.
'
'
_........._.__._......,.
..
:
whole
..
tone
oi
the-former
plcy
ts
Ugllter
end
in
a more
. '
idyllto
vain~
Than 0
toot
wo
lee.111
of
the
.orttelty
_of
Oliver
aria
~he
usu.~ing.
Dnke
in
tha
-first.sot
of
AS
!m!·
.t.ti~
.J! ana,
lee.ming
ot
!t.
almost
.for~at
it
..
ae
tve
watoh
the
:progress
of
RosalU:1d'-a
e.nd
orle,llno•s
love.
we
do
not
Witness
tl1e
deterioration
of
ohe:rsoter
in
Oliver
and
the
Duka
a.a
we
do
in
tha
oa.se
-~f'-
Proteus.
Filrthermore,
Proteus
ts
always
in
the
limelight.,
·
He
has
no
Boatrioe and
Benediok
C>,r
Dogbe~
a~d Verges
.to.
soften
his
1nf1del1tya
Proteus•
speedy
rettll!n
to
hts
tirst
love
and
Julia's
reaicy"
-
aooaptan9e
of
Proteus
as
~er
lover
egatn,
however1-
are
oomparsble
to
Oleu.d1o' e consent to
take
as
his
wife
tts
1
"'
saoont'l Heron
md
Haro' a aoqu!eaoenoe
in
a
F.lstt1ege
with
..
,,
Olaud!.O·o
Of
the
Sbakespea:rean comedies
1n
whloh
the
oonvantional
happy
ending
seems
out.
of
plaoe
with
the
serious
nature
of
the
whole
0
we
s~
7
11
d1sottes
ftrat
All~s
ff
ell,
that
E:nds
Well~
Hare
the
denouement
ts
unsatisfying
beoe.use
of
tb.,e
repellent
devioa
by
which
it
is
brought.
abou.tol37
It
is.high~
distasteful
to.see
a
deltoete
VJ(tm.att
like
'ile1e11a
takint·:
advnntage
Of
t'be
ld.11g'
S
favor
in
o·ra.a~
to
,,tn
an·
u.nw!ll!ng
httsbana..
138
.And
that"
she
should
fore&
herself
undt1r·
cover
of
ntght
·upon
the
man
v1ho
baa
left
hi.a
home·
am!
ootcr.rtrir
for
the
e,:prese
f(l?J:Pose
ot'
es-
..
·
·.
..
·. .
..··
·3.39. ·
·.
. . · .
aaptng
f~om
her
la
still
v,o~se,
··
But
the
p!:ty
of
1t
.ts
tba-t
"t'hts
p·earl
emons
ivome'n,
11
sibould
finally
enforae
her .
rtshts,
11
atte:r
the·
mail
she
adores
iiae
not
onl;t·
treated
:her
v11.t·b.
oont:empt11ous
b2nttalit7
t
but
'has&
mol!eovar.,
shown
himself
a
liar
snd hound
hi
bis
s;frtetn1'>t
to
blacken
the
o'tarao·ter
of
tl1e
Italian
·gt~l
Wll)
se
lover
ha
believes
him- .
·.
self
to·
:btaV'e
been,,
~140
Tlw'
degree
ot
at
ssatlsfact1on
wb.tcb.
one
feels
w
1th
·
the
clooo;
ot
~th1a·
i,:1ay
daponda
a~~ewliat,.
of
course~,
·upon
h1S oo~oept of Iialene.
and
Be:trcrem.
To
l:ounebuey't.'
11()
exoellenoo 1n
1Ielena.•
s
oharaotere can
ccunter-balattoa
the
£not
that
she
is
untrne to her sex
1n
purauing
Bertrem..141
AU;
e2:pls.natione.
cf
'her
oona:wl
..
t
and
all
too
tributes
P2id
.
-
.
'
to
h~r oh~,_,aoter 0
!lfl.t.,
Loimsbu17
canth1ues, oe.nnot
veil
the
fact
tbat
she
tat.es
advantage
of
·tha kf.ng*s $vo:tr
to
do
an
l38J3l'anaes; Georgi),
Wnuepi
sMkesl'.2!~.
p~
58~
..
·.
.·
· · · . Lom1sbt1ry,
T-.
fi~•
s1mkeapep.t2,
e.s
,!
D-re~tlcr
.....
.
. P
...
rtist,
P•
390•
139
...
·
..
·.
·
·.
·.
Brandee
0
Georsa
0
Xt!ll~~~
J!bskae~es,rg,.,
1i.
68.
140:tbiil:
.·
·
'....
.
..
'
1
43.r.o~s'b~
~
T •
R. •
miakaai,ee.,r.fl
!.!!
!.
Dreme.
tto
Artt
st
•
P•
-.,90. .
.
unwoman~
act
•
14
~ Brender
MattheiiJ$
:d?eels
tl~t
·
the,
l.o,,
oontr!:ve.noa
by
v1hiol1
Holane
fin2~1y
milltes
Be1--trem,
here
,-robs
lier.
et
011oe:
of
..
ony
a
J.ai'i:i'
to··
twmva.tlw
,145
And,
.
she
.4.egr,ades
herself
elmo
et
as
.nn1.ch
:h~
tlH:'J
nv.11'10
;f~o.t
she,
pttreues
e
men
·3.A4' ' . .
who:
ta
11ot
,.t-101.~h
:f'ol1ot91ng.
:~.·,.iv.ban
•.
~1?1therm9re·
•..
t:h~f
·,
·:
oaor.if3~o·e 1 s
mad.e
end
~t~e.
en<1
a1curea, .the
vtoto~
o~
:love
ts
·Pllr~l1
extet-ml;
there
!s
ttO·
!nwerd
and
ase
..
tµless
unity
of
·pg.ss!on between BGrtre.m
~nd
Iteler.u.i
lilte
t!tlt
whtoh
~
\
.
.
'
..
. .
..
145
.ft
unites·
Poetlm.mu.s
end
Dnogan
or
Romeo
end
Juliet
•.
· ,
If
Helena
!s
*
as
·Andrew
!,e:lg
·
ss;vs
..
the
thief
of·
lu.a:t
.rather
..
then
?f
loite•
then.
ohctnoes
for
a
ra'lllJr
bApp~
ena
h,s
m~e
a.nan;
and
nertrcm
ce~tetnly
ie
not
1
'ulsmtssed
.to
~lit$
happ1ness
11
•.
~
.
·;
To
other
cn.i.tlos,
lxrweve1-,
1I~lena
ls
e.
:r,atl~nt
G?i.seldst
c~me.a
wlt>
su.f:ro:es
ove?Wthi?lg
1tt
tn&x1V:Auat1bla
tenaet'ness
o.nd
hnm!ll
ty
end
navor
falter~
tn
he!
·
~,re
~ti
1
in
tm
end
·aha wma
the
?\"Jt,ell1oua
heart
•
14
'
Wo.
W,
:r
...
~wrence,
wt.o
11.as
maaa
e.ti
adm1
reble
stu8.y,
of
the
mec11evsl:
l42n,ta
.•
l
4
3Ma
tthei~s • .
B~nd?
~
11
.
..
~o.l~GJ?S:t;e*.
~.~.,~ .]lel!i:iah!,
:P
•
225 o
144
Lotmebur;.
T.
R
••
Shakasneare
ea
a
Dram9,tt~·Arttst.
P•
390.
.
.·
*"""'··
1.
1
....,..
-
·--
145
.·
...
. . . . . ·
..
. . . . :
l!a.bte.
He
W
.....
Willie
..
m Shake~peara~i
·4L3o
260e
'.P'
~
wtttp
t
t•
-•
et""""r
·
,_..__.
____
..
J::
146
Lav,'X'Sllo
a,
W:
VI.•
ITT
he
l!oe.:ntng
of
Allis
Well t
h!'.t
Ende
· W.ell~.
Pttl.!l!ost1$Q.n.@.
.Q!
1
th~
l~tk·"·!!l·~.~g;t\~1$8 -
~Wioo,ie:1£Ion
of·
ilmerioa,··
xxx.Vfi~
p.
in-;
14'1
· .
Brana.est\ George,
w1t11.am
Shake,m,S;a.:re,,
Po 5Bo
.,
'
bnoltS1'0i.Ul_
d of,A1
..
1
1
S'Ytell
th~t.
End.a
tfoi.1.~_·
f1:nds tr0loa1c
_.....,.~rot
m
tr·~.••=•••-»~~~-
t1l1olty
noble
nncl
hero.to~ ana
·:1:v
..
111
3u..s1;!f
ied.
in
bet•
conct11.ot,
both
in
.tlie
·tvttmb~
·
of
De~~:rem
.
t1nd
.in
the
nt,.n11er
of·
£itlf1ll•
"ill(£.
h1S
:t)onu1
t101Ul
for
·the!?
tt.11:t'On
·
aftar
ll~~l!lr?.gS
ttl4&
.
itOoordtng
to
the
OOUVel:l'htons
of
tht:J'.
Virli\e.;iStorteaJ:
~'.biol\
P~-'t)feosor
:rtiwranoe.
fi.ncla
1n
the
.s
"1mt2H1·
of
.All
1
er
Woll tl12t ·
..
-·
##trf
---·
-·
--~
tn
purtndl'lg
tho
Ite.Jl
wm
·
llas
1'al,uff
ed ·
her-,
Jttst
auoh
Single•
eyed lleyotfo!!
·~o
c
go·oa.
objeot,
t:r.,1'aopeotivo
of:
all
other
cot:ulidiirat:!.ons~: ivas ·
1•ega~dod
b:v
the
p3ople
of:
the
!U
..
ddle
Pige·a
ns ·ma:rtto~ioits.
11
Tb~·t
a vtrtu.o
might
b0
carrlea
too
f'ar
1
or·
tI:a:t
it
nl!t€;ht
t1~nssreas
the
most'.
o1mn.e:r.rta:ry
dennna.s
'of:
0011111011
a·enae
a:r,.d
deoonoy
·
tn
making
to:r
1
ts
goal.
soema
. .
to
have 'been· l.tt't:ta regarded
in
mediove
..
1 .eto:e,;.t,
14
~
·
Ftt~:;horrno:rat
1h.
1
ofesso:r
mwronoo
says,.
tll.8:rc
1a
nave~
tl1e lat.uit ·
i.nttmation·
1n
the
eerly,
enalogs
thnt
th~
bod-
tr1e1:
is
tmn1ode$·t
and
1.1.m10.~t·1w
o:e
a 119fined
··
women
.~
50
~
Tho nnsvJar
v1on·1a.
hnva
been
that
the
b.aroino ·
!s
lying
vii.th
'
.
her
httsbana
as
any
chaste
wtf
e haa a
right
to
do
• ·
The
objection
.that
c1el1'(IS0y'would
prevent
·her
from
·doing
80
~
~dGt:.
fame·_
prote?Ul8ti
~·cnut
112:trtf
been
met
l,y
_.tihe
ij
<'l,
',:
t
E11zabetll011,
partly·
.by·
.tho
ObV1rjua
point
tfu:t
she
has
to
'
.
. ..
'
:
'
-
~
' '
'
~
-
..
, ,
a.o
oo
in
order
to
fulfill
her
J:m.sband'
s
conditions,
e.nd
psrt)Jr
by
the
oooviot!on
that
virtue
should
allow
nothing
·151
to
!nterre~e
w1th
tha
~au.it
of
1ta
goel\
The
dif'rtouley
remsine.
however.
in
the
''a!ngle•eyed
·
lievotion
to
a gootl ob3eot". Bertram
is
hard~
a "good"
ob3ect.
Dr.
Johnson• s
hostile
eettmsta
of
Bertram baa
eet
the
etyle
for
most
of
tlle
eomment
on
tbs
he1'>;
1Pa
msn
noble
without
generosity.
and young
without
tru.tht
vJho
marries
Helen
ea
a oowera.;
and
leaves
her
as
a :pmf11gatei. when
she 1s dead bit
his
u.nld.ndnass. sneaks
homo
to
asecond
marriage•·
i.
a eoouaea.
by
a
women
he
baa
v1rongea..
defend
e
! 0 b l 't......
•.
...,.
1 ' .
·.
.
~
. t
,.,
.
4-
'162
11.i.msalx
by
.1.a
seiw<Hl, fllld · e
diem.seed
o
1.la.PP...uese
..
"
A good
deal
is
to
be
aa!d
on
Bertre.m•s s1de 0
110,1e!er,
in
ao
far
aa
his
rab
tiona
with
Helena.
are
oonoernea.
ne
~a
..
foro
ed upon
him
a
wife
whom
he
a.o
a a
not
want • ·
In
spite
of
Helene•s
intelleotnel
Ettd
mora;
exoe~lenoe" she hse
nothing
desirable
to
offer
hi.in~
:Bt.1.t~
ell
in
a11.
it
must
be
a&nitted
tlnt
Bertram
is
not a
highly
esttmablG
·153
personage
•
Dramatioall;v, Bertram's
bad
character
ta
juatified.
154
It
aooounts
for
his
re3eotlon
of
Helena
e:nd
his
151.,.,,..
.z.uid
•
16
2""....
·
b··
• · · T
"""
Sh
k · ·
"'
n'" t 4
11.
t 1 t
.uvuns
ucy.
•
n,;
a
eapeare
~
~
e;•e..ma
,.i.o.
~=,
s ·
1
. Po
3890
163
Ib1do .
..
164Law:ranae & W •
"U,
•
Shakespeare•
s
Prob
lam
Cometl1ae,,
p.,
62,
~ ~
tnos.pa.b!l:1~
of
nna.exaetanfU.ng.
her
f1na:r
:nsturai
1 t \explains
:,,#'
"
hla
'1V1llh1gness
tc,
·commit
·sdul~fr17
1 w~1ch
··.the
·plot.
e.bsolut~ljr:
reqn1res
1
end, :
finally,
· 1 t
thrc;ws
tl1e
noble
oharao1:er;
of
Helena intfJ
·rel,tef
end
area.tea
addac1
sympatl\V'
fot>
1iar)66
:ant
it
tat~s
;e:cy nobt{ify
of
I!el.ena•s
~tura
whbJh'.~ender,s
~r
fiml·'Unio1:1
with:smh
e cad.andv111ain,
less
; pl.aus1
ble
.1
5
6 Are
we
to
forget
tl'JSt
l3e~ram.
t:reats
his
v1ifa
with
the
grae.:1;est·
ba~ebnees_.·
sets
whet
)1e
believes
impaeoobla
barr1e~s
to
the
1r
union,
engages
tn
an: 1ntr!gu.e
\i.?i
th·
another
v1011Jell
• end attem17te
to
lie
himself
ottt
of
a
tight
p~oe?
Are
'VJE
to
believe
that
all
ends
well ·Simply
..''
:.,
beoe:o.so Bertram
!a
apparentl;r
t:ransfo:r.med
1n
.,the
tv1~l:tng
,,
' '
.of
en
aye
tnto
a
model
husbsnu?
·
Thls
ta
evidently
3uet ·what
Piofessor
Ie~wren~e
wou.ld
lmva us resa,:d
as
trr,.a., ·
The·
sudden
t~Jlaforniation
of
BertrM
from
.e,
villain
into
·.a
model
httsb~~.
Mr
•.
:tawrenoe
explntna,
-is
n convention
of
m.ed1eva+
and
El1zsbethen
, • I
story•te
JJJ.ng
1
,,
htohmuat be expe
oted
to
t'ollovr
l!elena'
s
t
t...~157
' . .
..0
.ti
..,....,
t'
'
riump.u..
·
~,
·
And,
..rro~esaor ~wronoe oon·
inues,
to
ergo.a
that
a nnton ao bro11ght
a.b0t1.t
w!ll
nevei
be happy.
ts.
to,·
m1ee
.tba
wlx>l.o
point
of
the
faltliful
,ntfe
t'
I
$1
·
'lndof.'
p!a.1
5
~:,AlJ.!,
s.W~l! !le,1 ~.d,a,
~8:~•
!nt?,'Oduotion0
:U)
V
:rt:.w:r~:noe
,--
VI~
\'I~
~
Sha.ke,swae.:re
's
Problem
Com.Mi
es
I p
;;
S8
'"
..
thenlEhluS~~E'o
metter
l1.otths.i~al1
tho
treatment
of.
1
the
y1oman.
by
the
man•
no
matter
mw
t2.neuita(l
t~y
may
seem
to
each
othsr,
1t
is
eoonv~nt!on
..
of
·the V,1rttie-.stol!f
tha.t
they
'live
happily
t>ver
after•
enl59
The,
statement
tmt
· '
1
e
~PPY
end:ing
\ve~s
imposed
upon
Shakapere
for
the
relattons
of
Helena
rmd
Bertram
by
·ths
traditions
:of
the
storyt1t160fai1S
to.
take
into
aaooimtJ' ·
howsval?,
the
ii~,mettst•
s
a1
..
tietio.,
rasponstbt;tt~t
for
the
msnagenwnt
of
his
sto:cy
~
ohe]."l,)ot,erisstlon.16
1
AS
M:re
Iew1~ance
'.himself
suggests,
it
i's
c11.at11rbblg,.,
at·
least
to
modern
fe~linga,
th~t
Shakespee~re
should
make
tha
ohe..raotars
,.
in
thi
sp
lsy
as
natt1re.l
m::ad
e.a
real
as·
11
v:lng
ht1mall
be1:oga
end
yet
retain
a
plot
Which mskes
the!!-
aattons
seem
peychologioell;v
!mpose1b1e
_.1
62
Fu.rthermora,
it
ta
...
i!iff!ou.lt
to
Mderatend
1t"1by
Shrikaspaa.ra
we.a
not
as
fl•ee
to
retake
changes
-,~in
·situations
. · ·
165
·
medo fa.m1.:l1ar
to
people·
by
oa11tu.r!ea
of
ors.1
».e,rrative''
.
as··
he
·wee
·to
ignore
the
tredltiona.1·
ou.
t<iome
of
·the
.Leer
~·to~;
as
l"Emorted b,i
the
o~niolet's
and
the·
distinctly
be.ppyt
OOa.1ng
ct
the
prt\ottoaµ;v
contemp·o1~arr
c11roxao1e
·p1~
of:
K.1~¥t
Leir.
164
And
1:e·
Slia1tes1,e2~e
did
not
hetd.tate
to·
blacken·
tha
Cbar~.oter Of
Bertram,·
Wll1'.
should he
ileSi
tate
to
'ohall8e
the
aolut1011
of
hfs
aotl;x,,?.
Vias
it
because
l1e
did
not;
VJar.tt
to.
trouble·
11imeel.f!
about
Chetlgillg
et!
tYt1toon1e'Wlltoh
f)Ould bother
hi.S
cont~.11po1~rfee:
very
little
anyway? l
em
inolinea.
to
iiink
·
that
th1
S
vial'!
8!>
•
•
· '!'he
olcsl»g
scene,
in
p~ttcula:r,
0
of
All
1
a !fet&
that
:Ent'la
Well .
indlce.rtos
tl1t-1t
Shalc:espeers
wa·s
striving
for·.
the~t~tosi
af£eot
rstll~1~
tl1~4
psyol1olostcai
oons1titenoy.
48
l?
,
~he
mtu?:'Ql
,1a.,.
in
,1hioll
to
b1~1ng
about
the
reoonailist:Lon
of
neiena
$.ttd -
Eertre..m
wou.16.
be
for
italena
to
olalm.
Justice
.
, ,
Cf
the
king-~.tell
lier:
stor9.·
and O~tl~
\\}JOtl
D!~e·to
ettb•
a·tantiate·
tt.
Instead
or
doing
this•
l10wever
1
the
d~t!et.
lntroclneee a 'oom:plloe.ted
aeri.:Eia
of
tricks
and
misu:nderertanding~
WhiO
h
J?O$tpone
the
full
explen~itton
as
lons
aa
poastbleo
Diena.~
the
obscure
Florentine
maid,·
' . j
'\.
.
·,
euaa.enly
beooroos
·an-
axiw!rt
s·tege•mmegar,
wl10
keeps
every~
~
'ii
,;
one
ill
tha
ds,!~
es
to
her
reel
pitrpo·se
11
boldly
bandies
.
.
WO:t\lS
with
the
k~tlg.
drives
BartNl
into
a
tight
oorne:e.
,i
~
..
·.,,
The
~aoonci
list
ion.
of
ltolana
.e.nd.
Bor-t:ce.m,
·
wbtol1
follows
1.~atsta1y
... 1s·even
more
brtef·~d
~ald
than
tbe
rm.u.11on
of·
Pos'hl:ihmus
and
Imogen
in
.9~lJ1!bEll:~.11e.•
1
<lf
J1:i:~er
Ue:tena·
to1ls
Bort:rem th.ti
11-.ss
tnlftllad
the
0011dttto:ne
for
their
u..n!on
after
me.rrie.ge.
Bort1-»t1m
aim1,zy
so.rat
""
.
vttz·
al1a
•.
·
my
ltego •.
oan'·
n1elca
me
k110trr
~this
cloarl;v,
· · ·
·.
·.
· ·
..
· . . .
·1as
..
I'll
lO.;iJ"8
hor.
i!tle~ly,
t\VG:!*
0
evo;,
daarl;v''
o · ·
··
·
.. . .. . .
I<
. . . . .
·:.
. . .. '
!t.1.:f;an
the1f
bags
J?a.1~lles
to
le11d
h:tni
a.
luanuerohief;
eo ha··
A
..
ma~
weep. the
K!l1g
talls
Diane. to· olloose a:
lm..aban6'
Blld.
'ha
.
v.i1ll
.give
lie:t,
a dow1,-,
..
and•·
after
a sllo
:t'*t
epiloStte·
by
tl1e
Xing
0
tba
ple~~
is·o-var.-
J?ro
tessor
~wranaa~"aooou
..
nis
for·
tha
If
Si:rigiilsr at>rnptnesa"
with
whloh·
Shakes11aare tu1ravels
tl1e
:*J;aoglet1
fortunes
·of
111s
o
lU?~,:aotG!·a
on
the
grov..na.s
tllsit
hs
rHnog71tsea
tl1e
audtanoa
•
s
..
. . . .
·.
. .
•'
..
' .
.·
.·
.
.·
'.·169
lnips.·t:tonoe
to
go
home
cu:,
eoon
aa
tha
encl
is
il'l
sight.,
.
And
to
?~!re
Thaler• s
reminder
tlnt
the
Elito'bet11Bll
auaJ.anoe
. .
was
oot
1n
the
~ll1it
of'
tushing
oft
thG
momont
tho
i,la~
was
590
l'lll
.
over.
but
remained
for
tbs
31g
0
~tr.
!ftwrenoe
replies
that
an aua.tenoe
11ltd.oh
is
looking
fo:rwera
to
a
fresh
d1vers!on
would
be
likely
to
be
more
restless
rather
thln
lees
ao,
while
listening
to
dremat!o
materiel
whioh
no
longer
oooup!ea
their
entire
tnterest
•
17
1 Bllt
is
ttot
this
audience
,,·,
the
same
one
v"Jhioh
likes
Friar
Laurence's long
reoapitu.latton
e.t
the
olosa
of
Romeo
end Jul:t.et?
Ia
1t
not
reasonable
to
:
...
~
..
auppoea,
th~.,
that
Shakespeare
lmrries
the
oloae
1n
Ali
1
s
Vlel
..
l
tlst
Encls
Well
because
he
has
alreatcy'
taken
up
hie
time
w
1th i~troduo
ing
and expJ
..
a:tnhlg
a
compltoated
series.
cf
mistakes,
or
that
he
babitusl]t
rou..nds
off
his
oomeates
with
rather
leas
osre
tl:e.n
he
aevotes
to
hte
tragadlee?
flie
oats.strophe
ot
11ee.emre
for
Mee.sure, ·
111ta
th9.
t
of
All's
Well
That
Enns
Well
neoeeoorily
leaves
an
unsatts•
.,,
..
Ill!....__
____
_
·
.·
..
·
·11a
...
.
.·
.
..
·
factory
1mpresaion
upon
the
min.de
!ll
1ts
~erg
inmoet
essenoe~
t·
!v!r
~
SW1nburne
says.
l:.tsa.sure
for
Meesu.re
is
a·
tragedy~
e.!lll
no
sleight
of
band
or
force
of
hand
oan
gt
ve
1t
even a
to1erable
ab.ow
of
ooherenoe
ox-
oonaistenoy
.wha:n
·.
. . . . .·.
..
":t'13
1t
ts
oltpped
and
docked
of
its
proper
end
rtgl1tfu.1
end.·
The
emplw.s1s
tvh.1oh
is
placed
upo:n
Isabella'
e
vtrtues,
170 ,
...
~
.··
·.
...
. . . . . . .
.·
. . . . . . . . . .
T~ler
II
A.vd.n,
"Shekspare
at1d
the
Unhappy Heppy
Ending"
6
Pu.bl!cati.·on,.
of
tll
..
a.
i~odern
Iapguaf;.e
P.
..
seooiation_
of
Amerioa.
flXItSept
•t
!927) •
PP•
40-4:£.
171
:JAwrenoa
•
w~
w~.
~b&kes12esra1
s
Problem
Oomea.1.es.
p~
'16,.
1
'1
2
Xntght
OOhoJrle
s"
st,1dim
o.t
sbak,es:nea~e
t
»•
320.
1?S . . . . . . , . . .
..
· . . .
SvJinburna
0.
A•
o • • !
.studv
.o.:f!.
Shal:ea;eea~e
.•
lh
203~
GO
•.
Clo.ul!to•
s
oowa1">dioe
ent1
AllS&lo' a eolf•daoep·tion
ma.k.es
these
themas· more
au1tsbla
for
tragod.y
.,..
or
mel.odra~
at
least
...
tb.011
for
a
oomedy
which
enda
in
·:eour
marrieges
and
general
enmesty.
174
This
play
of
the
deepest
tntriga.a,r
lavilasaness
. .
111
high
pla.oestt
anu
o1ViO i\ebauoheri" etldS0:
W8
repea.t
1
in
fottr. !Gddi:oga
at!c1
ell
u.n.Sol1o1
·ted
J)S,!1.?don
for
e
ospl
tal
·
..
The
sama
repells.nt
davtoe
employed
!n
eff'eotii.tg
the
1
denoite!ll8nt
of
A11
1
S
Well
tbat
Eti1cls
Wall
1a
used
to
bring
._,...._._
~
--
""""
.
e.bou.t
the
ha.pp~
solu·tion
o:f'
1maesitra
& ;lteasura • ·
Ba.t
the
.
.
snbstitt1:tion
of
Angelo
1s
fomer
sweatbeort, Marlana.
tor
Isabella.·.
ln
order
to
oove
the
llitter•
S
ho:nor
end
to
do
the
forll8r
a
rtght.
does not
seam
qu.~te ao offenetva
·as
the.
sul>sti
tu.t
ion
of
Rel(Plla
for
Di~a
• .
The
,
reason
for
this
· ·
faeltng
0·no doubt
11
l!.es
ps.rt4r
in
our
keeping
1n
mind
that
the
raae,
employed
by
the
women
of
-these
two plasrs
ts
a
ccmmon
one
in
medieval.
story·
end
does
not
s,em
to
·be
oonstderea
hu.m!ltetinge
lioreover.•
in
El1zabethnn
days,
s
betrothal
such
as
liariana•
s
tvas
hold
to
have
much
the
b1m1ng'
foroe
of
the
complete nnrrie.se·
ceremony.
'ana :to
. . .
":t.76
h
oontar
mAri
ta.l
rtghts
e,
T
a
mo
st
potent
reason
tor
.
. .
oo:nsUlering
tho
trick
in
r~reasure
!o,.t
!!~
...
asnr~
lees
offanstve,
174Thornd!
k?
•
A.
II
h
En;:Sl
! eh
Oome5\y,,
p
.e
129.
175T-ador
ed
•
of
tiensu.ra
.f'2l:
Mes,en.re
• Introth.1.otton i
p.,
16
tt
176
Iawreoo
e
O,
w
~
,w
,.
~
.
Sbskeapeare'
a
Problem
Com
Mi
ea•
,:p
~
95
~
however•
ltoa·
in'. the
fnot
that,
Ise.belle,
the
one
reaoaming
oll:lro.oter ·
~n
tho
plew
•
ts
terself
..
twsiilliec1
b;T
pa1~;01psting
tn
the
eot~
Again.at;
a·
beolce;xoMct
of
oorru.pt
vtem1a•
tvi
th
1
ts
bawt1yJb.ot1.s\a.
Ptl!lde1
1
a,
and
ltbertin0s
11
th~
pitr1
ty
end
nobility
of
:C~belteJ
a
ol1e.112oter
is
thrown.
into
eve11
t
higher
rolief
·tmn
the
cl1are.otor
of
ltelenals
bu
the
'blaoloness
of
·
:sert'ro.m
.i
,,
The
a-rto
i«anoa
of
the
t
~gto
end
biT
the
itrt:tt,mlss,!on
of
·.
'·
1f8
Ue:rta:na
brings
·us lmrrD61ately
to a
diecttss!on
Qf
the
Duke.
et
whOse
ad-vice
tm
bed•triok
10
oa.rr!ed
out.
~he
i'liee£tttsed
'
'
'
Du.ke
m1gb:~
have
endaii
the
agonies
and
foo1~r1es·of.A~~-~Jt:t~
J:.ot,
Moe~l.!.
et
nn~
llloment~
!.:£•
he
llec'l
so (l.estred..
1
'1~
·
He
alone
w~s
tn
possessto11
of
tlw
facts~
·
He
could
h'?.Ve
revealed
h1m•
sel:f. brough·t
Angelo'
:tsabella,
l[s~iane,
Oleudio
I
t!t".ln
the
rest
·ba~ore
tho
b~r
of
h!s
ti:t.tthority,
freed
the
!l1nooe1·tb
and
pu.ni
shed
the
~1.il
t
3,
~d
eo
would
~~
e · eaired
!sellella
an~
Claudto,,rnnoh
suf£ar1ng.
180
Bu"c
tha
lhtke
does
no·t
do
thiso
Sitoh
en
er:r~.gemont
tvoitld
11'.ve
be~n
·much
leas
effootiv~
d?1ams.tiooll1
th.~
his
oo:rrcinu.ea
a.1ag-u1ae:
1
his
ettggasted.
l:."'ll.Ses,
tho prolongation
of
·the sns1)anse
of
the
ijOoused 0
and
. . . . . . . · .
',
. ·101 , .
tl1.e
false
s.eour!ty
of
tthe
villl:Li.n, .
So
!n
apt
te
·ot
hie
17'1
.·
. ·
, }bl!<t,
~-
G{).IF.
l
e'/~SVJ
U1°bt1.1"i18
~
P..
~
0 ~,
~
~'J;µ~~
!}.'£,
~'.?.l!~·~.QS~O.t:8,,
P •.
~
~
3
:
79
Thomd!.
k(!,
~
•
!l
••
J!l!!jili_s.h
!'
OlJ'\~ctv
~
:P
• 1?.9 •
~o
...
·
.·
.·
·.
_.
~w1-enoe,
\V,
..
\l.,.~
.§~ko~pe
1
~!.,e.
;?.}:~~.l~J!\
.Os,.ni;al!~~.
p,
104..
l81Ib1d
11
\I
..,..,..
0
SGl.f-,s·cyled
i~til,iing
iiatU:i?e
and·
aesire·
~GO
delagat'e:
bt's
povier.
fa).
smtl1er·.
ll~
8Unden:t,-··
zreB;)rta:
to·
the
moat
U:f$JI1S'ti(f
·met.}10t\S
"to
bring:
the·
guilty
to
justice,
aria
then
leta·
them
h.11
off
without
J)tlni.shnlaut
oi'
importOX1oa:
182
11
The · Duke' a
part
i1t
tha
'plot,·
exoepttng:
for
hts
·
cbdioatio~.
is
little·
h1
aooord wfth·
his
dispoettion
es
elcatohetl
in
the
b
agh:m
itJg.
enli
little
1n
soc
ord
,vt
th
probabillty
..
nlSS
Re
ts'.
servfoe~ble
·t;o
th~
p.1.rpos:es.o:s/the
drams.
but
ha
is
mt
p~~holOgiosl:ty
oonsistmt
~
184
To
the
Elizabethan
aud1enoa • ·
ho't:vaver.
·the.
ohert~oter
of
t
·ha,
Du.ks·
·
.
probably
o££ered
few
dif:fioulties.,
If
119
had
bean
the·
propai
sor·t of' o:i!ftoial
bl
the
first
place,'.
his
'paop~$
probebly
v1ould
not
h8'7e
bae:h.
·
tlie
(lebauoliaee
the:,
~e.
Mav;.
big
fail.ad.'
hmirevar,.
·to anforo~
the
·n~gleoted: la,~s'
thus
for,
he
.ia
no·c
lilcel.y
to
e~arot~
his
ne;httul
aitthority
.
.
3u.st;beoause
he
laa1\'1S.of Ailge:t.o•s, terms
to
·Isabella•
on
tha
other
liand •
'of
oou.rse
•
l t 1
s.
just
as
improbable
that
\
suoll
s
Duk<.1
1;1ould
su<ldenly
beoome
the
expert
atege
tUreotor
tl19:t
he
iSt.
lhtt
Whet
tlle flttiienoe
oared
about ·was
the
I
'•,
'
·1a5
irrtrioaoiee
of
the
plot
--its
8t.lll>r1ses
end siiapensee •
.
.
182
Tu.a.or·
ea..
of
!!ensure·
for·
Meastwe, ·
!ntroa.uetlon,
'
.
.
"
........
~
~
.......
·-
.
'\
\,
Po
14,
193
.....
- ·
·""
m··
''l!t 0
'hAl
. •
·~bl
O
a1·
,.u.:;.i,\Vren·ye,
\If•
~lj
••
,:,
__
.;..J:ae;petare
s •
.r..-v
.
om
ome
..
es,
·.
, . Pe
ll2o
18A
""."'
.....
n11a.
1atr•
0
-,
v.
•
ll'\A
..
·.
l_.J.a•o
P~
~,,
They-
__
dlll
..
not 9are . a
trt~r,
abmit
the
:t;rhmivh
of
tm
J);,.ke' a
tl1eor1?~
as
a
'rOto:'fmer
or
8bout
·tho m.ore.1.welta.re
of
V1~:n:nso
::Thay dUl want
the,pl~to
end,
ns
a
oQmady
shou~d.,
.
.·
. . . . .. . -
...
·.
<.
.-18 6
.
tr.(
t:1_
ga11e:z:el
atmoephare
of
_happiness.
· Th~s ·
1a
o,;Jtma1b~
tho
entl.
for
vi1hioh
Sh~kOSllSa'!'S
st~~as,.
Th8
old
h.M,v
!e
ntd; ettl?o1'1ed
~a1net
Oleudto·
efter
·
ell
ths
efl?o:rt,
end
;j'll)
e:s:c.uee
hi
-,ftaraa)te? A!lgelo his be-
come
giH.l·tW
o)'!
tlk1
oom.3
of.f~nae wl1lla
e.c:rtir.tg
ss
depu.tr
<>f
.'
..
'
t1w
·
ot
~
to:.
01.'Jforoe
t11:tt
vary
lew,
but
im
}1;\,rt1onaa
alao •
~
...
.·
,;
.
:r1t,oi()·,
--~
n,:,torto1.1s:t,,y
di
sao:t.ute
feli..011,
who
l~.a moat
basely
'.
Slatlderret!'
1.~ha
Dulce
in
pul1l!<t
e:t.ta
,~1vate,
.1
s
let
off.
vl
th
~·
soolclf:ng.
on.the
contU.tion
·th1t
he _is
to
mar:ry
the
girl
ha
'
...
l1e.e
wronged
•.
Poml)e;1
ts
pat
in
p~leon,
but
is
promota<l from
e·oommon
1nnuerto
2
hangm..-an's.aes!str:zii1t,
apos1t!.o:n whiah
to.·
.at
least
·1n
a
l.awtnl
:r,rofess?
..
(mo
Batt.t.a,~iiino.· a
noto-r!.cus
cr~mb:10~.
of
the
101
..
vost type,. 1 s par,don~d ~ven
before
h~
repents.
;~a.
thei
lrv.ka
himself
le
to.
mert'jf
:ta~bella.1
88
IooballeJs
mer:r.!ogo
to
tl1e
Dttl:Q
bas
been
calloil
s.
r,
.··
·.
· 189
"(3oande.lou.s pre>(H)eding" •
That
Ise
4
baUa,
resolved.
as
she
the
and
of
the
play
so
that
the
SO'-oelled
comedy rray
encl
1n
still
another
wedding
•.
lecvas
her
1n
our
memory
as
s
figure
ea.illy
dimintahad
from
the
hero
io
•
Brena.
er
Matthews
thi.nk:s •
190
The
Duke
ms
not
wooed
hat\~
the
critto
continues.
and
e.pparant11r
he
has
never
given
her
a
thought
as
a
possible
consort.
"She
has
shovn.1·"'no
l1kitl8
for
him;
end
yet
she
e.ooepte him
offhand•
praottoally
eellb1g
herself
tor
rank,
a.1though sba
lnd
refused
to·
sell
herself
to
save
har
brotl1er*is
llfe:
11191
··,'
Of
oourse,
as
itr.
Tha1er
s~a,
the
Duka
a.oes
not
tell
Isabella
tmt
he
has
f'otmd
her
n1ovel;t"
until
tbs
end
ot
Meaeure
for
Mesattra~19
~"Btlt
he
has
wtaohed
bar
tw.der
fire
...................
....,
........
_...
.
.
.
.
and ha.a found
her
tra.e
and
strong
of
heart.
she oan
give
hlm the_
things
he
la~ks
-.faith
1n
man.
resolute
strength;
ana.
jo~.
193
}toreover.
as
we
have
noted
before_-
long
engagammts
were
not
the
ibeh1on 1n El.tsabatban
times.
e.nd
so a
..
Dtllte'
e wooing viottld
oertainly
not
'be
tmfesh1.ona.b:t;v
194.
.
long.
Nor was
an
Eltzabet
lmn
aud1eno
e
likely
to.
be
aoandal!zed
to
see
tl1e
heroine
reward0c1
for
her
trials
and
65~-:
Vl~tues
01
marrj"ill{!
tile"
mo
'at
c:U.st1·ngul.ahed
trtan
in
the
play•·
in·
the
good
old
stoey~book
tashton·.
195
Much·
bl'!t1C1
am
ts·
t11reotau ·
at
·the ms.2'r1s.ge
of
!'sabelle
and
the
Duke
solelN
·bec:iause
taabolla
is
a novice,
from
s
num1e17,·
who·
marries.the
Dtute
v1:l'thout
seau1H.ng
the
perm!sston
o:t
thtt
!ri!dy
St1.1:>er:toroi
9
e
The·
BnSl
1
1er·
to
th.ls
objection·
is
tha>t
·shelteepaara
nllltfH:1
lt
perfectly oles.r
in
the
beginning
·
tl1St
I~sbe11a
haa·not
.tet
taken
vows.
Ana
a
Rom.en
Oe.thol!<l·
novl<H>
who
11;1
e
not
7et
taken
vow
a
:tn
t
be
order
mey
f
orsske
the
reitgt.ous'
11:f!e~.
an1·me/ft7'.1
9
v
o
It
bas bean J)ointea
ou.t
that:
-Isabella
·aoas
not
'
..
-forme.111
·_
e.eaen·t
-·ia,:,
)the
Dtika
1
·,;f
1>t'o:POS
1
al:., · And
while
I
am
not
sure
that
tee.belJ.a
tu.rn.s
to
<the
Duke ·
1
"Wi
tb: a
heavenly
encl
yte:tatng
an11a'* • I
bsva
·no·
tfoubt·
that
:she
oonsents to
';
.•
,
jtna2:T7
hlm~
198
It.
is not·
etra1'lge
tlmt
she ·snottld remain
spa,ech1esa
199
when
•
in
:the,
midst
of
a1.1/
his
othar
oios1~
revel.at
tons,·
t
lie
Dttke St1.udenly
says,
-
"Give>
me
your
bend,
iiria
aay you v11ll .
i '
. .
be
mtnen •
200
.
""
..
"
.
196
7Awrenoa
~.
W•
VI.,
.s~1ee!fmeare•
s"
Problem
Comedies~-'.!'•
1?6 •
19
~udor
ed.
o:;i
Mea~e
for
Mea,Sllr9
1
Introduction;
P.•.
i6.
19,Law;~oe.~
w.
Vfo
11
.§h~kes11eere•,s. Problem Comedies,
p,
106.
198 .
Ibijl.,.
'
·1
99
Thalar,
Alwin,
"Shakepe~~
and
the
Unhe:rrpy
iIBPrW
EnclU'Jlf"
;.
,;,
Pt1.blios.t1ons
of
the
?t!odern
It:i -
e
Aseooiation
of
Imerioa
0.
XLIItSept
.-;-1:92'1)
&
Po
-
20<1
-.treasure
for
Mee.en.re
V
•
l.
4920
-
·
..
··,
ShE:).
hl.a
he.rd~
rGOOV<rlred
from
the.
startling
dtsoov.eey
t~t
the,
friar
ta
real:1.r
the
Duke.
when
bar
brotmr,
who
she
.
'
~
thi.nke.
1
s
dead,
_
la
~aatored.
to
her•
She. mttet
etlll
be
try•
ing
to
belle'Ve_
her
own
EUOS
e.nd
eorra
wben
the
Du.ke
w_!nds
• I
up
tl1ewhole
play
by
proposif)8
to
_her•-
.
The
th1rd
oba.re~tar
about.
~llom
tbs
_o:ri
tios_
properly
canter.
attention
when
they
~~
ooneidertng
the
aat~-st~phe
of
Atessu.re
for
Measnre
1s
Angelo.
Coleridge
would
do
much
mmv••·~
. •
,,,....,
·.
• .
.,
. . . - , . , ,
.,
in
<told
blood
for
Angelo•
:C:p
h1s
words,
"the
pardon
and
tnarriage
Q
:t
Ange
lo
not mara4t
baffles
the
st,:ong
and
bultgn~t
01.s.1111
of
;.lttst!oe
--
(
for
oruel1w',
\vttb
lust
and
'
'
demneble
basaooss,
cannot
b~
forgiven,
beoaueewe
oannot
conceive
than
as
being
moraity
rapsnted
of))
?ut
1.t
ts_
1Utawisa
degrading
to
the
Obe:ra.ater
of
wcmm"
•
201
Charles
Knight.
agreas
with
Colsrtdge
thet
.t\nge
lo
1
s fortune
nbatfles
.
"
tlw
et?bng
end
inlU
..
gne.nt
clsJ.1!1
of
3stioa",.
but
he.
cannot
-· ,
..
202
sea
lnw
.1
t
could
ba
ot
han,isa
~
~
Angelo
bad
been
• ' + '
I
s.clequately
p,,..n:tshed
\\
:ttr.
Knight
continues,.
the
oata.etrophe
,,
,.
wo1.1~ld
he"ve
been
ev:;,n·more
u.nsatisfaotory.
When
the
Duke
takes
the
rne.nagement
of
the
af£atr
into
hie
ovm
hands.
and
a·ver-ta ·the ooneaque11aes
of
J.\Dge
1o•
a
evil
1ntentio11a
by
a
~
...
tlldso
evt.l int$ntiona~
203
At
aey
i-a1:e
9
the
uCl1npl1oated
.
stmtesms
of
thl
Duka, whtoh
1
we
knew
o.,
uid
-ooasa
instantly
St
h1S·Wi1J..~.
are
·v1hst
suggest ·even
;,the
moet
_remote
llOSSibi;tty
of
s
happj'
:m
lution
•
to·
the
plat•
Mr·.·
Theler
so.ggest·a
that
the
wbito
shsme
6
f
Angelo•
s
eX]'.)0Sttr8
iS
to
h!tn
B
ro,ntsbnlell'f;
·
S0Br<J81y
l6SS.
aatrera·
tfum.
tl1a·'..denthfor.v1l11oh
he
..
himselt
a.aka:
Bllortly
before·tha
··
~nd·.2
04-
Siioh··a
irtetVI>o·int4
however~
must
]'.!reaipposa
a
·goodt
thong
h
t\Sl',t'()'J.I
~
man~
. ·
13Uaa$11~.
gone
wrong
.
:through
an
over-
ma.staring
SGxuel
temp·hatiotlt
lkt
Angelo
ls
no·h
SllOh
a
mano
ln
the
light
of'' h1a 'oonduot
to
?lfo.rlana
and'
hie
flat
rafttsal
·to
tempar :
just!oa
with
mercy·
tn
the
oase
·o:t
OJ.audio•
•'
'
he
QJ)pears
to
be
a
·ttnooth
rasoni,
who
~is
ueen
more
or
1ass
..
· . · ..
, ·
.•·
. .
·.·.
. ·.··.
·'
..
205 · . . . .
suooessful'
in
ooneooling'
his
tnvn
besenoss
t
).nil so
6.
a:s
Robe1,t ·
i3r16.ges says,
h:>w
could
the·
d
ta
grace
of
·exposure
re-
model·
au.oh
..
s
vtliein
b1
tiftae:a.
m1ntltesv
206
· o~•
rno6ern
teal!ng._
·then;
is
that
Angelo
gets
otf
·
<oge'ther
t
,M
11€:1':J.v~
00
?
·our
.ltwanttethi,Oonttll',V
~hilos<ipiw
005
.·
·
~
·
, ·I'M.d
1 ·
1
'
'1t.t
f ,,
"'
,, , ,
2
~Thaler
•
A:lw1n
~
"Sheks:pe~a ·
ena·:
t
1l1
lJnbapry.
·I!a:pp;v
. Ending~
0
.
Pnbliootiona
of.
tho·ttodern
Ls?\
~r11e
Assoaiatlon
of
·
1.meri"oa,,
xtiiTs'e:p~
•·
0
,:9~2'1)
• -
..
..
.·
2
0~rawrenoe
• w
~w.
~
.~haJte.SJ!E?,~t:!l~.sl
Problem
Oomed!ee:f,:
p • '11s
6
206
'.-...... . . · - ,
..
.
·.
Brt<lges,
Robert
it
~
1
0n
the.,Influenqe
of
the
Aud1enoa''
0
dTh~;
Wo~ka.
?~-
\\fillia.111
.§,llekespaa.ra 1
X
1
ll•
326.,
.
209
Lav.1r.enoe
1
\V.
w
.;
Shalteaneere
I
s
l~9:U.leip,
comed1es:
1, • 116..,
..
ss.
dootLnot
.1:no,»
the
ttvo
· e::·trames
of
-the
Midd1a Jigos
~
the
!\ih1oss
of
cn.:ael 'i)unish1ient,
ana
mercy•
:w1te11
tha
-medtevc:.l
-. '..
,.
,,
man
we.a
rnir.uoned.
th9
quoertion
whether
lw
deserved
1·t
tor
; ....
oey
speoial
reason
was
_l12r<1ly
e.aked •· lteroi]'
li.2ll
~o
be
•
.r
gratuf.t~ita
1
like
tho_
nero~.of
Go~o208.Tbe
perdon
of.
the
.
repent~t
:vtlleh1
.and llia
iu11011
to
o
heroine,
thcnn,
.which
\ '
tha
modern
.aiw.teno,3
f1.n
da
4tt:i,?iault
i1>
e..ooapt
t:
was.
oorm1011•
\ . ..
..
11:Jaoo
tn
Eli~ebatlwn
arsma
•209
"Tha
se.me
mt:racrJ.loua
..,
-
·•
r . .
<'
, - •
~
•l
prooesses.whioh
lead
to
the
·rors1venesa
of
erring
ms.l.e.
1 :
ol1arecteret
o.tul
their
oonvars!on to
the
path
of
reotitu~
..
e
.:.
also
ntttomst1oe~
mslte
.th.a:ri
· pe1~toot
lla.sl1~Jacls1rt
•
E'J.ld
eo
.
i - .
ltt'a"Vo?l~t
than,
fl:V.>111
betng
..r,deg~anb:g to th;) ol12raoter
of.
w001sn
11
~tlO
we
hmre
talree{w noted
this
in
the
oaoa
.of
Oliver~
'.
~
,;.
{'
Pro.taus~
Olattilto.
end
Bertram.
s.na
:w!.11
St'H:1·
it
s.gain
11hem
' '
..
•
\f
wo
ocms!d
er
Posthtm1~s :tn
.£\~l1_0J;~.n~.•
.
The
abrti:pt tl:anait1on
i!I\:)m
the
beigltt
s
of
t1~g10'
e:r:r,ert.e~no
a.
to t
lla
ohaerf\.1.lne
ss
of
a
ilz),J)J?Y
e:ndtl'.g,
,"111101~
l:oeps,
!!~l~!titr_q,
f,o:r
~tEt.a.m,i:~
from
beb.18
pcyohologtcnllf
a,ons!stent,.
l?robr>J,iy
did
not
vio1~,r
11
the
au.dienoo
in
the
Globo
Theatre
•2
· Tlw
·denouement·
of
0:Q"mbalina
is
evident13·
neither
the
natural
~01.ttooma
0£
a
tragedy
nor
o'f a
ocmedy,/~
12
'2fo:t
only
,en
'•
1 )
·q
1
1·
I.fl.
1t I
208 ·
Thtc:1
tq~ 1 '1.
209ro1a..
PP.
11a-117
~:-
...
,
......
218
!l3i.'d.,,
p.,
118.
fll.
.
.·
Jbi<J..o•
P:P•
ll7•118e
<r
1 •
..
........
c,~
212
Thornclike,
ea
quoted
by
Furness.
H.
n,,.
A
Net•1
veriorwn
Edition
of
Shskaapeare. XVIII, Po
6Y~
iio
recono:tlist ton
end
r'eunion
foilo,v
the
most
gr1evoo
..
e
errors
of
the
hea.1':'t
ana
wrongs wh!oh
are
as
greet
as
those
of
the
ttitte
traged1es,2l.~ut
tbs
oetaetropha
ts
the
outcome
of
sltuettone
invented
ana
arranged
for
the
express
purpose
of
exoittng
the
s:a.iU.anoe
up
to
the
moment
of
the
f'illQl
un•
ra.velltni;.
2
14 Moreover.
as
Thorndike
end Matthews
point
.
.
out,
the
very
:postponing
e,nd '.lle1ghtenmg
of
the
happy:
ending
bi
a
mult1pl101ty
of
1ntr1oate
situations
make
the
a.ts•
ooveri(!Ja
and
raoognitiona
of
tha
:t·1na1 soenea
ineffeottire
.
on
the
ata.ie.2
15
The
revelatto:nEt
are
aston1eltag
only
t()
the
.
ob&~etere
in
the
play,
because
they
reveal
nothing
wlllch
the
apeo
ta
tors
do
mt
know
alt'eati1 •
216
on
the
v1hole,
we
must a&ntre
the
oleai,iees
and
skill
with
whioh
all
the
emrectars.
,v111ithottt
a:qv
violation
of
probability,
a
re
brought
together
in
the
last
scene
snd
the
O.ramatto
knots
1.inttea~
2
1'1
BeJ.'rett Wendell. ona
«>f
the
o:tltioe
viho
speak
h1ethl;r
ot
the
denouement
in
_O;ymbeltn
1
eQ.
finds
some
'
.
2
13:ooivaen,
Edward.i
Shekes;pee\tra
1
P•
S6l.
.
214
Tho:rnd1ke •
as
quoted
by
Fu.meas,
H.
R.,
• A
NevJ
Ver.iontm
Edtt:ton
of
She.kaeneare, XVIII
•.
P•
l>!'Se
1
....
.........................
- - .
a:.
. . •
216
..
~.
.
b·1
Thomuike
9es
quoted .
y
Furness.,
Ho
H
••
A
New
Vo.r
orrun
Edtt1on
1
.9£
Sha.kee;Ba.ere, XVI!I
0
Po
o:t'3;
lfiitthe1i~s.
Brander.
sliiikes:ryAera
es
a
Ple,-mnright_
0
""
12'2.A ..
w ,
,.,
~
• """"'"""'
--
~
-
1
.
p.
ltJ,U";i:
..
216t~tatthewe. Brend.er, Sbalceen~are
as
a.
Ple_
:l!{r1e;ht_o PP•
334,.5., · . • . . .
_.
_,,_
21
'u:i.r101.
Dr.
Hel'l!lann.
Shak8I?Gf3-re•
8
D~a.ti~
A11~P.
l'll;
Fu.mess"
R•
H,h
I'
ITei,,variorum
l:iJdltion
0.L
~U1akesl?S!s~;
fflif.
Preface,·
p
•.
·:t4-;-
twa:n:'cy;four
di
stinot
e
itua.tions
m
the
denouement.~
And
each
of
thaae
is
o1early
and
effaotivel:y
developed
to
an
!rite'.r8St1ng 010
S8
in
Wh1oh
everyone
has
been
200ountad.
'
..
V
218 .. · ·. · · • • • • · . •'
<.
. • • <
for;
O'!w.rles -Kuight
also
finds
11.ttle
in
the
cstastrophe
whialt
fails
to
satlef;y
the
spectator,
b~t
ha
reproves
th)
se
who·
lau.d
~the
conalueion
merely
because
1
t
..
is
oons1etant
with
poetloel
3uet10·e.,
219
Mr.
Itntgl1t reminds
its
that
t:be
·perishing
of
Desdemona
in
Otha1lo
is
as
true
as
the
sefaty
of
Imosei1
m
9iJl!l!1elln
..
~.
and
·that
poetical
truth
in•
volves
as
ltlgh
a
moral
b.1
the
one
·oesa
es
·1t
doea
1:tt
the
otber~
220
Not
all
eri:t
!os,
llOWE:rtrarl\
e.grae·
\Vith
Mr! Knight oon-
oarning
tl1e
poet1o 3Ustioe
in
9l.ffibel1l,!2,o
Mre
Thor.adike·
says
tl1e.t tl1e
happy
encU.ng
ts
secured
by
a
violation
of
the
most
liberal
no·bions
of
poeti:o
juettoa/~
21
ue
does
not
speolfy
w·l,arein
the
oa.ta.strophe
fails
to
administer
juat1o·e,
but
no dou'bt
l1e
0
as
well
ce
G.
o.
Maoanley-
am
1
Hartley
222
Ooler1dga
0
has
1n
mind
Posthumua
e.nfl
possibly
Iaohimoo
218
..
; . .
:.
·.
·.
· ·
..
-
·:
. ,
..
;
, 13aker,
Go
Po•
The
1?,~vel9J2,mant.
of
Sho~kee;eeare
.a.a
!\
Drsmatiat'
Pe
lztH>o
. . )
I.
• ' • .
219
Xnight
.•
Charles.
stucU.ee
of
§,h9.keane.are •
p.
576.,.-
220Ib1d
0
22
~hornd1ke
9
a~
quoted
by
Fa.mess,
H.
Ho•
A
New
Verio
1
rttm
,
Ec1ition
.2!.
Sbakespser~~
XVIII,
p~
51'4-;-'....
.
w•
22
~hel.er.,
·Alw!n
0
"Shakspare
and
the
Unhappy
1Is.ppy
Ending''\
· _ Pu.blloa_tio~E\
of
~-tha}1odern
..
!@Mt1~ia·
Assoo1~,t1on
91
~n1er1oa.
Xfil
Itf.:apt
••
f~H?o/)
.,
!h
1311;
.
-·
,
Coleriage,
tm2:tlay._
as
quoted
l>Y
Fn.rneas.
Ht\
n•
.,
it
NevrVartoz:iun
Edition
_2!·
.§lmlteapea~
• ·
rvm, v
o
401J
•
•
Ooler1age says
tlmt
P0E:1thun)1.+S
0.
ttlui
ple!n
terms1 eo,ts a
~
vtllst1:1•
e.
})art •.. A
.man
ivho
ooti.1~1
l~
w~gera .ttpon
his
v1!fe' a
v1rt110, et:d
wtlfo.lly
er9osEi
her
to
the
msu.lts
of
~oh
a
rib.el!
aoo~ltral.
as Iaohtmo, J.s not
;on:cy-
1µ1.worttw
of
"'
. ''. . . ... '.
ImoB,en
tr
but
r10~11"
. 6.ese~ing
t?f
ti?,~
ygo~~t
possib~,e
..
con•
·.
. . ·
..
221· . '
aequ~mas.
of
hie.
t·oll;J"~. ·
..
. ,Bat· t·he.
wage1;"
!n
..
9.S?J
..
el
lnf!,
!e
·:~t
. onoe
~P+"ugh~
.
, ' ' • ' ' \ ' . • :' '
il'i
.'
,
~
"ii
' . . : .
.:
" : .
,'
'
medieval
-end. tho1t>ughly ~:u.~abet~Jln •
M:r;,.
Lawrence .reminds
tte~2~
!n
t~
12.ght
of
nie1UO~el
bl1iht;
obse!"lt~o~a~ ,
I , • , ' ' I \ • L I
~
•('
''
• ' :' ) l ' t
°"
~
'
Poetltnm1-1.s
Leona"tus
eDYrgte
fr:111,r
vir.ulioated
in
the
mek1:og
of
•,
. .
~
' . ' ' ' • -
')
i I ; 1 , '
th$
.wager; ·"'hia was
tm
only
oonduot .:poseible
for
the
.per•
:f'eot
~1.ght
ana.
'.l.over"'~a25
The
pel'fEiot
n:11.eabethrul
lover
was
,'
, • , ; ' i
'.
{
'.·;
• < ; • i• : ,
'i
,'
'>,f)• • • I C ; .
i''
,"j.-;.
no-t.
only,·mo:rb!dl;v s$na1t1va.
about
.t,h~
epotl.ess
purttr
and
hem
pr
o.f
..
his
wife•
but
he
waa
full;'
3~s~1tted tn
putting.
her.
-to. a.oath
!t
llhe prove_d
ttnfalt~l~
Tbs
old
iuea
that
th3
unchaste
women
must pay
tor
he;r
f~dl.ty
with
bar
life,
which
1 s
at
the
di
spose.1
of
the
husbm:ul
wb>m
she he.a
.
w~nged
or
k1nfolk
whom
she
has
disgraced.
su.rv1ved
as
s
..'t
convention
of
tlle
romentto
d~n
tlown
to
the
beginning
of
tm
.
~ve?iteenth
oentu17/d~6 ..
Posthumtte
•.
thGl1'1
'ts
W1aentli.
mse.t.1t
.
to
be
a blameless
.
,,
22~Ib1d · .
-----~
~
'.
.
..
.
I,:.,
•
.
ohlracrt;sro
227
Etit
1·t 1s·
only
natural
that
we
·should
di
S-:
l.ike
the
husband
WllO
nnkes
·the
radiant.
and
spirited
·Imogen
. ..
. . . .
!')
. : . . . . . . . . . . ' . : . ;
..
suffer~'"'
28
To
quote
Mr.
~wra~oa • ·
"iv~-
v11sh
th$·t;
Pos~lnl.mus
had
:thought
mom
of
Imoge11
and
loss
:of
social
oor-reatnass"
o
In·
crl~her
v1ords
0
we
wish·
that
he ,vero
.a,
wm
w!'I;h
mod<:1:rn
,.
'
.
no
tt.ons,
instead
?f
sn
Elitaba·than
t?i
th
mea.ievai·
ideas
still
do.g~b~·'him.i89 ·
Strenge~
enough.
at
lar~st
one'oritia
ob3oota to
·the
f
e.ia
of
the
w
ioked
Queen
~n
,Q,tmbeline •
Mr.
sn:l.der
u()
es
n (It
thil'lk
that
sm
should
a1a; beonu.oo · aha
h9.e
1riErt1.gatad
..
.
',
Britain's'
rebellion
against
Rome~
an a.at
1n
itself
n,oble
.
. '
'
.
.
.
.
.
'
.
..
.
'
.
·.
,,
·.
.
..
_
·.
· . 230 _ . . . .
..
_·
and
of
national
oonsoqu.encer. · ·
Oil
the
other
h9.r.ul.
he
do·es
i'
~
'I ' •
not
thb1k·
tlnt
Sh<i.3
should
live.
011
account
of
her
hostilitf
.
'
.
.
...
"
.
'
.
'
t~wara
the
inet!tlitlon
of
the
family_.
As
·yr.,
Sn1ller sees
'.
'
·,
'
it~
the
QuGG!J.
is
a
cant~diat,1on
.~1hio:h
-~uns
tl~u.gh
~he
J•.
• • ' 1
'•
• • ' ' • ; I ' ' :
"'
' ' '
'.
''.
' '
~
}:!-
8~
1
r
a
_p:ta.y
nnd
blasts
1,ta
effeot.,
·
'.And
violan<fa
is
dona
to
the
feelings
of.
en
tm.dlence
-espooiall:r··:of-:,d.
British
.
'
''
audience
..
\\Then
the.
and
of
:•tlle drama
brinia
the
lri:laoing
of
.
I.
.'.;'
1··.
...
I
P.,l
,,.,.
~
'
'
#·
.,,,.
ni:
.....
,.',••
u\q
q ·
.•
,...,~.,..,;.q~.~~,----
.
.··
2~7
. · · . .
Ibt~.J~t
e ;
p
~
203
~
228!·
1-"\i!
:'.t
....
"!l'\
l"lt\A
. . u
:UJ.
tt
f)
V b
~'\Fl,;
O
~09' .'
6JW
Iota·,;,·
1>,.
205
'it
'
'
230
snidero
B's
quot'ea
by
fu1-:i:ncss~
Ho
n.t
A
Mew
Verio
1
ffl
.
.mi.ti.op
gf
S,hakas;eeara.
XVIII•
p";
~e
251Ibid
_·
~~--JI!
q
·'
~fl
J
'li~edloes
to
sasr
O,
SU.Oh
a
'111eW
.fat
ls
to
take
into
·
.
001,s1.a.eratio;n
·the.t
t ha !
ntereat
of.
the
pla~
oontt'!Jrs
e.bot1.t
Imoee11.·
aa1a
Pocrtht1111u.s.
and
not
soottt:
t~
·
~bellion
e~emst .
....
').
\
~.
11i.lme
•
Tba.
vio.r
ts.
of
i~.tc.,rocrt
01113'
baoai1s~. t·t bri11ga
au.
'
.
.
..
. .
''
tllo
ohnrrtotera
,11rto
one
to~s,
U~l"~ver,·:
the
doe.the.
of
the
Qi1ee:n
r:md.
0£
her
stupid·
son,
Oloten,
exoi
te
little
pity•
.
. .
G;l"OtLa.Y!dS,
.for.
tha!.r orualW •
The Qttean•s
01.18.dmi.
111,ness
e,nd
reuorse
e.rEl.ha~:cy-
•
¥-'
'
'.i
'
admrc1nta~
tm
t1va,tea,l~
32
Ber
laai1
dying
speooh
and.
oon•
fa~ion,
whial1
is
111
ebsu.ra~v
oµ.t
ot
M tttra'ff,
is
rep,)lttea.·
to
ue
onl.;v.
to
. c
lef1~r
t
1~
wr:-.y
!!?or·
t
be
f!li.ok stqueno
e.
of
marvelou.a disoo'1'sries and ro,o~gnttlone
rdlioh
ttunble
ove,...
ee.oh.
other
1n
the
f!.nal
eoena.
25
:i.!
:rt
1s
of
a ,vtooe vt!th
Ie.ohtmo•
,.
chan~e ot
oont~meni;a
anr1
wt.th
Posthu.nn.1.a'
betns
eti11n11oned
.before
the
I(tng,
tn
sp1
te
·
of
the
faet
that
he.
!.s.
st\ppoE:106.
to
be a
oonvnon
RomE:a.,
m
16.ier~
l\ll
of
these·
}l:re
l"atl1:1.r
..
111~~gnifioan
t
tno
!dents
int:r:oilttoed
m~rely,
to
nss1
st
in
brtrgioo
·the
lov~
drama.
to
a tenn1nat1on.2S4 r say
tbat
even !aohimo'
a
obar!6a
of
heart
i a
rather
tnsign1£1oant,
because
!f
Imogen
om
egn!n
eeaept
Pos~h11nr..tff
end
be
in
tun1-
e2r1
·~.1'1.on
the
in~cigr1·tor
of
h1a jea.~ousy •
then
we
'2
~2tr1r1~;.
:
Dr.
1Ierms.n11~.
s1~1t~ae..re
1 rf
Drematia
A:rt
..
·n.
l?'lo
. •
;i.,,
'!"'
~.
·
Ul
.P'M
U. ·
~~
J:'
23
~·tthGt;s
• Bre.nde!'
0
Shekppero
·~
.
.ii
.f
ln;zy1rtGli;t,
P •
~34,
" .
234u1rlc:1,
D:r.,
Hermezrn
11
~h."ll!:Snoa.~
•,s
D_r_tg!!C.ti9,
!.!::!::.
p.,
.171.
oan au.rely teJte Iaohimo•s
repentance
as
it
ts.
There t s
0
hov1ever
•.
e.t 1
mat
one serlou.s b
lemi
ah
in
the
danouement
o:t
Ormbellne• I have
in
mind
that
piece
of
vapid
1mpert1nanoa
in
the
fifth
act.
inolu.dtng
the
vtston
of
Posthumus while
asleep
1n
the
prlEH1n
0
the
aboora.
''lebel"
found on
his
bosom
when
ha
awakes,
e.nd
the
Soothsayer• a
still
more
absurd
interpretation
of
the
label
at
the
olose.,
235 The whole
thing
fails
to
th.rOW
a
pe.rtlole
of
,a,
light
upon
the
oharaoter
o:qmotive
of
any
parson
in
tbs
tire.ma. and
on~
retards
the
·aot1on. wh1oh
has
been
rather
• • • C • '
.•
236
swift
up
to
this
point.
It
is
s:t.mply
irreveltant
e
11£ro
.Furness,
tn
the
preface
to
the
new
veriortun
ed!ti.on
Of
moeline•
expreS88S
the
oonv1ot1on
tll.et
tl1e
insertion
of
tl1e
vision
and
sll
tl:nt
pertains
to
it
ts
not
the
work
of
Shakespeare
but
of
an
tnterpolator.,
257
Bnt
this
ts
not
neoeesari.J;v
trna.
Mere
1nfartority
dor~s
not
keep
the
part
.
'
1n
question
from
be1:ng Shakeepea1
..
e•so
If,
ae
it
1a
quite
like~•
the
drarrt:\ti
st
was
under
the
influanoe
of,
or
v~e.a
even
rivalli~
0
Beaitmont
and
Flatoher
in
oonetruottng
en
.·,Ii
,el.s.b.orat e
denottemen,t
·o
23
~then . he
msy
have
ino
~ded
the
vt
ston
in
order
to
l1old
off
the
~inal
wravell1ng
longer
;::
.
'(·
.
.
'
.
.
'
a:ntl
to
.hive ona
rri.ora
pt~zla
~o
solve
at
the
end.
,,
',
\..
.
.. oxen and ,t1ainnfpe~, ,to:
use
it~,,;Furnese•
own
wo:rdl:1:,
oannot,
hale
him
to
.the
oonviotton
thet
one
other
fault~t
·.
' . .
.........
;,r,'
. .
..
..
. . ' . . . . . •
. .
..
·..
. . .
.·.·.
. . · · . . . 239
pe.ssagelin
5'.._Y.ffib~ltna
is
the
work
o~
Shnkespeare,
elthar.
He.objects
to
the
our1oita
~asement·of
the
business
1:n
Cymbellna• s
tent
cl.ixr1ng
sot·£
!ve..
After
the
0Qnf
ess1on
of
.t,
..
' '
'!
,•
. '
Iaohtmo~.·
Posthu.nm.a.,
with
a
t~asheutb~aaI;
o:e
repentanoe.,
at~ikos
the
dteguJ.sed
Imogaa:
0
r111bo
~a
attEmpted
to
..
·
. . 1 • ,
.1ntarrtipt
b!tn,..
~d
..
she.
swoons.
Upon
~eviv:b:ief,
tin.ogrin
does
.
.
.
.
.,,
.
·.
.
.
sp~1~ll·~nt4.
~osthmnus*,
arma; :''now:~tretohed out
in
sttigger-
\ng.
weloome,
wt
th
the
glad
~ey.
that
hare,
again
v1a.s·
love.
t?~a
ft.rm.
aa
.ee~h·
s
rooky
base"•.·
instead
_of
i'thts
•. she
t'begins
an
tUl~aarn~v
squabble w1th
I'1san!o\
About
a
dr:v..gt
·.
It
m9,de
-
.
'
.
..
\•
'
'
,,.
..
~
her
111\.
Then.
poor
old
doda.er!ng Oornel1ua must
needa·be
'
.
..
.
-
'
·;,
~
brought forward~
and
mt1et
tell
again·
1n
prof.:W'
,rt>
1~ae
,mat
~
·,
.
)
be bad tol.d
·t!S
all
onoe
"before,
e,ren
to
the
V0?7::00ma
.\r.. •.
~eterenoe
to
•
oats
a.nd
c1oga'
~
All
this
Wh11e
Poathunm.a
hes·
nothb1:€ to·
do·
bu:tr
sh1£·t;-
first·
orr
oner
foot·
an<l
then
on
the
other,
;and
listen
~P~·e;,r~d
to·
Imogen•
er
quarrel
ab~u:t
23
~hor.ndike•
as
quoted
bf
Ftirnees,
1
H,
:H•,
A
ltow
Vertontm
~dlt.1?.11
Pr?!:.
~&~eBJ>ae~.q-1$
IVIIIt
P•
5!4~
, ·
1
·
·""
239Fu.rneas,
H•
H.$
J:
Ifew
Varioru.m
Edition
.21
.shnkes12e2re,
X.VIII 0
Prete.ca.
p • fG.
..
,.,
'tta:
•
. •;;,
s;me
mysterious
poison o
Wlian
a:t
last
P1sa.n1o
t B, mid .
Oomel.itis•
s
~lanatio11
has
eatlefiod
Imogen•
and
the
ourtoai.ty
of
Belariue
and .
Gui.uer!u~
and
'Arviragua·
1s
allayed
..
...
..
about
the
·~or
Fi.ellla0
·than
Imogen
;..
~turas
e·t:
last
to·
Poetb~a"
•240
As
:t
iiave
elreaey
saide
ltro
lrt1mess iloes no·t think
' ' .
~
'
Slnkespeere
18
responsible:
for
th1S
flat.v• Bat•, egain1:·I
t111n1c
.
s~~ttaspaare
·j,li.rposely
·~nfavelc:ftha
othax··
t;?Jg1es
of
. .
tlle
plot
fi
rat.
in
~·order
to
height~ri
tll8 dramat.!o: ef~eot
of
the
rGoonotliat1on'
between ,lriiogen and
Posthimrtla
...
This
does
not
\nem.n,
of'
oour~et
t~t,
Sllaltespeare
is
8n'Gi
raJ.y.
suooeas~
'..'''
ful
!ri
his
ef:rorte·
-·tr
...
,
!Awrenoe.
who
takes
exoept1on··to
the
last·
ipeoobes
of
!mogeri otid
Postlrnrm.u{ana.
fe~ls·
that
their
·r~tUl.iOn
should
ht:;\1'8
been
~e.ged
ai:d.
l)h:ra.Sad "with .
awroprinto
digni tyn • thlnlts
tbs1t,
Shal;e~pa~re
'hsd
..
leas
en•
;.
•,, • ' • •
_;
,'.
·,
•
's:
,,•,•
•
'/
[
,;'
.'
_:
'_
I
·thu.sie.an.
·
for
their
rGUnion
than
lle
~d
for
·the
wage~
in
the
·.
· . ·
..
.)
. , . . · · ·
,-
241 · · · .
..
, ·
·.
. · · . , · · , ·
:-
· ,
earlier
·pert
of
the
play.
· ·
But
it
may bo th.st
the
aramattat
simply
had
lesa
t'tme
for
tt
i'rr
h!s
al.?1osdy
over-
oroVJded
as'nc,itement.
Inotdental.ly,,
the
raoonoi11at1on
of
Imogen
and Posthumus
is
no
mora
bald
or
brief
th~
that
of
Helena
ana
Bertram. But,.
in
spite
of
Quiller-Oottoh•·s
statement'
that
the
le.st
lines
spoken
by
tha
tvro
are
·242
~'axquisi
tely
poignentin,
I
do
think
ther
are
laold.ng
a
24lr..s.wranoa,
\J,,
VI••
Sh.8.kesnas.1~• a
Probler11
oomed1sa.
p.,
:194.
242Q.u1Uer-Oot1oh.
Sir
Arthu.r • Motes on
Shakespeare's
,norkmansh112t,
'Po
252,.
._._
......
,
..
,
Tro'ilus
and
Orsss1da
1 .
The
Yi!.!1.tsrt
!.
1
Tale•.
·and The·
;,L'empest,
·.
:The
th~nouemmt
o:f!
$:Oiltt~
a.rid·
.Q_r,e~~<l!
1a
m(HJt
strange.
Tho·
aot1.on.·
stops
a_bmptly,
ana
:not·.htng
ts_
oonoJ,.ua.oa..~3.·
All
'
. '
~
.,(:
'
/ '
'
.
the.
p:tott.1.ngs
ar.ti
soli¢mi~a,
all
t110
.
rh.e·tor!o
e.nd
-
'
philo~opey,
all
'tbo
emo:rxm.a
intr1gt.1.ea,.
~d.
G;:tl
..
·tha
big
words
nnd ble,l'!ns
of
t!\unp~ta:
are
'l$ft
at
loose
e?1ds.
rothor
than
bi'l:'.lti.g~t
to. a o~n~lusion.244
"T11er.a
ere
M!t:he~
the
:rocon~
I ' / ' \
~iltat!ons
of.
oomacw·
tior
tll9
purify!tag
ce~lemtttes
of
·,
..
..
..
. .
1
.
..
~-.
245
. . . '
·tragea~r
to
roi,.na.
out
the
eotion
.~·
•
!n
!ts
rolentlese
anal;vste
of
the
.aerkar
s!dea
of
htuncn
inssion,
tllis
r>lS37
snggests
the
great
traged1aet
bn..t
tmra
la
not
the
1nter.JJity
of
emot
ton.
sn~
Vj.olenoe.
of
cotiot'l ·
whth
:Lead
inevitably
to
...
the
tl'Bgta
oloee
..
246
'~
t~
other
m.na
•.
the
endh1g
is.a.~
...
t
bing
bttt
'.the
o ttiven
t!
onal
'
1,.a1m1
b'n
a.
?xrei·ther
ot
the
plots
o:t
Troiltta
;e.na.
Oressida
termb1a.tes
·.
' ' · ·
~,
· t
Q
•'.*''
10•
·
~·
·•,
rt"1'*"".1*
•.
,
•·r~Jlt
'
~t)nol1.1s1
vo11.
Ct-tJeaUta
do
,?s
r1ot
~oeive
wh~t
had,
become,
.
.
.
'
.
·,,
'
.
. .
.
of
exparienoing
the
oetre.o1zo:'cion
of
a
lapal"t
she
ie
left,
despite
he1~
fntthle~_ness.
in
,the
full
tide
of
h~r
love•
effa.ir·
with
Diomedee.
·
The
Troiltts
of
Shakes1:,eare
does
no.1u
and
his
pain·
and
dis!.llusion
1n d.eetb ~a
ao
es
the
Troilus
o:T!
01muoer• s
poem
or
of
Hey\vooti' s
plqy
o
·.Aa
far
as
we
osri
see,
1ro1lus,
b1"0kan-haartod,
is
l.elt
to
e flt
tile
oon•
·
ti11uai1oe
i11
the
great
etritSfi;le bettveen
the
Tl.io3e.ne
and
G. .
247.
1,..eaks. ·
Tho
endin{f
of
the
mb•plot
1
like
that
ot-·
·t11e
main
plot,
is
inoonolttS1Veo
0
Th8
elaborate
plan
of'
·tha
Greek
;
.
ohiafs
to
shame
Aohf.lles
tr.rt() eoti.011
fails
com11letely •
tt
.
.
.
. .
ts
tro.e
that
m~etr.ata
tl11a
slights
he
bas
reoe!
ved
.end
the
!*epros.ohGS
Of
Uly'a~1es.
e,nQ
PertrooXlus·.
But
he.,
does
not·
emla
Bi
Ol1El.11enga
to
Rector.
tte
mere1y
tltspatohea
Thers1
taa·'to
ask·
.A3e.x
to.
inVi
ta
the
!1
1
11to3cms
to
h!s
tent
e.ftar.
tlia
•
Oom•
·
-.
bat,·
Wh~n
they
rirr1ve0 Uaotor u1~gee Ad1li1las.
to
CQme
intb
.'
• l • •
"'cha
field
and
f!ght
0
a71d
be
p?omlses,
to
do
oo
•
In
the
next
aoane,.
howeve1.,,
•Aoh1llee;
tells
Patroolus·
t·,1:.
t
be
is
detel'red
fl~on1
bis
gree/c
p~posa
bf
ti
message
f1~om
Po~ens.
0
11;a
laey-~ove
0
begging.
him
·not to
do
battle
,~11th
he1~
brother,·
lteotore
l!.nd
it
ta
not
until
Patroolue
1a
.
.
.
.
ldtllod
tlw.t
Reotor
ie
i"Ottsed
to:
aotion
and
o:ontrives
the
;,
~
,'
-·
, • , , i
r,.
6.en_tll·
o:?, Hoqtor
l?Y
a
mAan
triok·.
:Bo.t
he
is
not
p1mished
for
his
arrQgnnoe
or,
fol:
h1a
imotiono
cJJ.d
he
i~
l~ft
t~
t~imph
after
having
comps.seed
the
aesth
of
the
most
b
2:1.
111
ant
a?!d
EtVmpa
thet
1 o
ba
ro
b1
t
be
play
e
1ro
r
doe
e
the
swollen
v~tty
of
Ajem meet
any
rebttft.
The
upshot
of
the
wl10J.e
epteode
is•
to
quote
Thersitas.
that
-
"ttthe
au~
Ages [
.
ts
now
J
prouaa:ra
tmn
the
011.r
Aoh!llet~f'' •
and
that
the
shrewd
policy
of
tJJ.ysses
am·
.Nestor
is
"not
prov• d worth a
...
blac:
kberr;v'1'
.Me
It
is
almost
use1ess
te·
crit1otza
details
in
a.
c!enouement ~l'lioh.
in
1.ts e:nttroty •
ts
ao
unastiafeotory
dramt1oa11:v. The $poaoh
of
Par.uiaru.s,
·for
exnm:ple.
1s
a
xsather l.orig
one_for
the
ve~
alose
of
the
drama,
but
i.t
does
not
ttatte~
rrn1oh.
The
.an.dtenoe
oertetnly
floes
not
real11e
.,
tlmt
the
end
of
the
ple,¥
1 a e.t hand•
and
this
speech
surel;v'
i!oes not
delay
anythlng
unless
it
1e
the
et,ilogue.
And
the
epilogue
p-.revente ·.-
or
ant!Oipstes..,
iii
sar,prove.l
by
imply•
.
ing
tlmt
there
will
be
no
htsatng
a~aept from bawds
or
pa.ndere
or
the1r
,mforturu.ite
customers\
The
theatrically
ineffective
ending
of
Trotlus
~
.2,ressi~a
haa"
of
oourse
•.
been ble.ttteld on
some
unknown
wrt
tar.
He
is
alweya a oonvenient.
but
not e1weys a
reliable.
soapegoat • sometimes he
fatl~
to
oar,.7
into
the
wilclernese
all
the
a1ne
he~:ped
upon him\. Shs.kespeare
may
have retatnali
the
fiMl
ooenea
beoonee
they
v1ara
in
an
olu
pteoe
he ti,as revising_,
In
this
avant,
we
do
ffOt
1mov1
bow
so.
ha
planned
to
rmke
the
~nal
scenes
bannon1ze
':'1th
the
.
earl.le~
pa.rt
of
tha
pl~.,249
on
tlle
othe:r
bru:id.;
the
plsnn1n;
'
.
.
~
.
\
of
the
w~~e
action
.may
be
Shakeapoara•,s.
The
closing
..
soanaa,
than
1
~Y
'be
in
harmony
vJ!th
his.
aastgn,
and
1n.
e.ooord
with
his
1nte:nt1ons0
though.aotn.all;v
written
.by
.
•'
a.notbar
ru:md.
D1Vision
of
enthorshtp
does
not
neoessartl;v
· .
.·
260
mean
looseness
of
oonetruotion.
As
f'ar
as
the
love
atory
ts.
oonoemsd,
oni,
Qll
llll~
,·
'
..
'
.
'
.
:
happy
ending
is.
poaeible
o .
"The.
theme
vies
ao
fi.
mtly.
'
~
-}
'
.
'
asteblishad
for
an
Elitu.i'bE)t!l.i;.~-
attdlenoe.
by
tradition,
as
;..
fJ
't
involving
the
separation
of.
the
lovers.
tha
hee):'tbreak
o~
, . r
the
one
.and
the
bad
faith
.of
the
other
..
th.t!J.t
no oonvent1.onal
llaPPY
and..J,
ng o
~ld.
f
o.l.low
>2
5
1
:But
ol'it
1
oa
feel
tlta
t . tlle
. .
~
.
.
Sbakaepeareen ending
ta
not
tUlhsPnv.
enough;
they
t_.eel,
tlmt
. . .
·252
.
..
. . .
Crass1da
sl10uld
be
prm.Jahea..
.The
clrame,tlst.
how8vere
'
.
'
.
'
. . . .
•·
~
..
-
;
.
does no
violence
to
tradition
baos.1.1sa
he
does
not
.oarry
the
action
to
a
later
time;
and
0
what
is
pr5>ba.bly
of
mo
re
sign1f1oenoa
•
be
has
s
~ea.tty
filled
a
ti
ve..-eot
plcy.,
253 .
T_ha
catastrophe
of
!~
1
111U1
~
O:reasida
affords
a
:..
.....
at_rilc!.ng
(Hmtreet
to
that
o:r
All
Is
Well
tho.t
Ends.
Well
and
.,,,.,.,,
tJa
J
tt
••••
~-
..,.,..,_,rc=-i
•1
.,,.,,..
810
pl~s
sra.
di-amettoelly
ef'teottve
,but
PEtrtihologioe.Uy
vJeak
1
.
'
~.
/
.
.
.
the.
denouement
of
Troilua
end
Creestila
1s
a:rsmatloa.117
·,
'.,,
~"'·'
.··
sAi
'
.·
•
weak
bu.t. psyoh~logtoa:p.y_
st;:ong
o
2~
It
·t~
ree.ltstio
a1.1d
.
.
.
.
'
1
~
(
1~~1oalo. ,
It
nakes
no
(I onoess1on
to
theetrioel_
e~fect
of
the
obvious
sort,
but
$.t
oreetas
a varo.
definite
1mprass1on
of
:';
'
.
~
'
'
.
~
tl;ie
~tl.1_1_-tw.
end
misery
ivht~h
comG
of
1ov1ng a
vJorth:tess
',';.
Woll¥11le
!?hese oloe1ng s99nes
a~
n.,t
axsotly
like
anything
.el
e8
1li
Slla.keaptla:i.'ean
com
ed7
~
266
..
The
Winter's·
Tela
brings
us
to
the
oons1a:eration
of
~
...
·~
'·.
·,.
'.
,.
another
1,~~
ln.
whtoh
the
tmglo
entanglements
come
to
~
'
.
hBPW
eud.
To
Vloto~
lh18o
,:
tllla
p~
is
even more
trag~o
·.·
....
··.
..
. . . .
266
. . . . ' . ·
',
.
·.
1n
natttre
than
91!be~~!o
·
·~.
Ha
feel~
that
the
~mpassi~ned
tone
of
ths
whole.
aid
the
''e.eo.ending
scale
of
!ts
ohtef
'
..
' '
.
•.
.
,,
\
.
'
;
soenes"
are
tragio
0
but
that
the
dee.the
ot
ttramilltus
and
I
Antigc,nus.
atte
mote ·deapl;v' moving than
the
death
Of
C1oten
in
~bel!n,~
~
af3'1
l3u.l
th1'\npt
~
$p
oo.ld,Jl$
of
,T_he
Winter•
El
.'.r,B,l,!,
'i
sey-
s,. .
·~
1
A
plot
wb1o
h
should
have.
been
tt-ea
tad
only
as
D.
.
.
..
~
'.
",·
.
••'I
•
. · . · .
·.
.
.·
.868
n
·suparfiolel
end
·of
raoonciltatton
•"
Ant1.
D"a!t"tle;v
.
.
-
.
'
Co1erUlga ttrges
that
•
1
tbe
exhibition
of
such
madness
of
heart
1
*
as
that
of
~01·rtes
"shotilu.
b·a
oonf1ned
to
the
sternest
tragedy"~
booetl8S
k.oh
e
si:rmer·oml
naitrol~ n8Ve~·age1~
be
wortlw
of
eres~~a~ton
to
h~:P1)1nesa"·~
259 · ·
:rnaeea.
the
first
tl1raa
acts
of
!b2.
!fJ.nt,Q,rt;s
~e1s
eeam
to
be
e ·
o~plote
end
1z1c1ep6tident
·
tragacy~
260
l$I'
the
time
we
~
' \ ' •
'·,
• , •
~
'~
• •
••
,"
• • ' • : ' , • }
•.'
••
'•:
•''
• I
oome
to
the
end.
o:t
tllelJ,
the
boy
nts~m1~11us
.ia
aaad,
· :
,.
.
~
a.11d
.
Ant1gonus
b.8s
'b~en
d~onred
~y
a
b~s.r
0
"Henn:Lone
at.l~
Per4,tta
are
b(rth
BllPPOaecLto .be
dead
•.
Lecrt1test
eh1ldlesa
es
.well
• '
I>
~
ns
wifeless,
1e
va~,
rtghteou.s~
ie~t
to
a
lifel:oDS
r~morse. ·
-
~
•;1
! ' '
The
ramatrit.ng
ti10
ao.t;r
of
.il?..o
dl?:)ma, t·ald.ng
plaoa
sixteen
;real'S
·latet° in
..
1l1me.•·az,a
·~~lJ.i
enothor
Piiw~
2~
1
Th!s
second
'1}1~
plots
up
tii~·.·thra.rid
of
..
tl1e.
'ato~
et
·
..
its
mo:at.
trP..gto
point
end
tlian·
ffcond.t~.ots<ns'out
ftlto
Q:
gari\en
o:r.'
,....
'
;.
pleasant.
rcme%\tio
·
'deviaes ·
where
old
wroage
meet to
..
be
,e-
oono
:t.led
as.
in
th
1a
wo~ld
.
tn!W
nave
1'
do
e.n
d
n~ver
~rett
~
262
___
....,......,.~......,.----~---.-..
.........
~..............
._
....
258
:Bn.1
t~upt
•
Re~r1o
h •
:Ol'Bm!!i,,¥,~1
f:1,
cler
o
1sss
p:~ . (
1884 ; .
~
~4
ede)
•
Vol.
II,
Po
D1il
1
as
quoted by FU.mess.
H.
· x
....
·A
D'trv"I
Variorwn
Edi
ti.otr
of
Sha,keepea.re
~-·XI,.
p.~~G-;-
-
I
c.
-
1359
Tllel.et,
Aim
n
~
.
"S~spere
il.:nd
the
Unhspw,
Ral)P;v
Enaing",
. ·
..
rt1.blloe.·t!ons of'
tha·ttrode:rn !;3.
.~u
e
·Association
of
.
'1.merf
oe..
XLII-rsapt
_;
·
I/I!
·Some
ari
tic
a•
hOiraave~{
tllil:'lk
tlia
t a
a.1
trtincrt
break
te
tlllllet~ent
bet\V&en:
net
throe
end
the f ollowtng
eots
only
when·
the
pl.r!/g·
is
e~timiileil
supar£iollllly
end
wha1 1ndiv1a.u.a1
' ' '
:1.
• , • . ,
:tecrtv.r<;s.;alone a~e ;.oonsidered
.•
263
11:ro
Ul~1c!
·
feels
ti1at
1t.the
ooioura
uaeil.
to
ih~so:r!*ba
tho· 3ee:tousy
of
Laon:te~,
the
·
·,unbe~pp~naee:
of
hur
wttet:'
mu
tr..e
k:tng.• s
repe11te.noa
~il
so~1~ow,
c.:<>e
nowhere
l~!d
on
with
glsr1ns
·thioknessi
but
[areJ.tGn11,erod ·
·ana.
gtve~
in·
:tight tou.chtH!'ro
264·
And
,a:Ltl'10-agh
tho
last
two
sots
21~
t11~wded
with
element a
'tihiolf,
·
in
the
.
:
na3;t:rt)VJ8i-
sense
of
the
WOl~d,
eta
Otl1~t\tt:l]l
Ontn10
• .
tho.
f
i3?St
tbree
aots
ara:
also
beaed upon
tlw
(atite ~!ew
of
ltfe&
265 ·
...
!mi?,
Qull7at--Ooitoh~
W}H)
e.p'p1~eol:ias
th~
problem
b.tlnt
e
sligiitl:,
dtfferrmt
englet.
enus
that
•tt:n
a wor,ld
wharfJ
Natiu.~
mixes
comedy
tJJi.th
tregetly
mid
often
sllades one
!nto
the·
otoox~
·tndl
st1n&1'1.1slmbly,
.a1~t,
if
she.
ba
!1atit~
1
a
·u1irror
o••,
m1.iet
a:tiveye
be
·impatient
o:t
hara
aef!:nitio1·n.1"./366
. · !
an not·
so
au.rs
the
t
~i
thor
of
~hlleae
explanations·
me
..
ltottr
the
final
denonement
Seem
mo11ta
oonsistant
With
the
temp
er,
and
hnndl!ng
of
the
p
1cy.
on
the
other
h~.na.
,.
we
2
63cJ11
..
·101~'·
:or.
irermatm.
Sh2kE!ii0eara
1
s.
D~mr~t1
P..
Art,.
ll•
34; .
· · Qu1ller-Oonoht
sTr
li£liii1:,
]rotes
on· S1'~s1'ena?e•
s
. .
JLq.~1Sl12P.~h'..Ja,.
p~
2se.
· -
--
--~
2
~lr1oi,
Ill"•
l!e:i.met1.n
1
ShakeOOare•
s
Dl'81ne_j,U!.,
!!:;!!.
11
?)
•.
B4
•
26
~Ib1d
, . . .
•,'
.1
..
arr-•
.
2&
1
\ius.11:el"-Oouo
l\•
Sir
Arthu:t'
0
No
tee
,!lll.
.@...im,kEl,SJlGS.re
•
~
Norkmen
s..:11:e,
1·>..
257_.
·.
. . . . . . .
..
•
eannot
overlook
the
s~gest!on
ma6e
~
both
of
these
critics
th;tt
some
threads
of
the
story
a.re
deliberately
left
hang-
... .
ing
at
tha
end
of
so·t
three.,
2
6'1
The
1nt?Oduot1on
of
the
oreola
in
this
aot
c1o
oo
point
to
a ha:ppy
1SS'l1e
•268 The
doom
of
the
omole
hes
been
exaoted,
lmt
there
is
ttllfulf1lled
promise
of
hope
in
its
statement
that
"the nns
elell
ltve
. .
·.
. . . . 269
witho11.t
an
he!r
1.f
that
wh!oh
ta
lest
be
not
founc:l"o
'
'
"That
wh1oh
ta
lost~
ts.
of
course,
Perd1ta
1
es
her
name
tells
us..,270
The
final
scenes
of
The.W!nter
0
s
Tala.llke
thot:H)
of
~belina.
o~nstst
of
s ear.tee
of
d!soover1es
and
raoognitions.
271 The
old
shepherd
end
his
son prove to
Polbtenes
that
Pe'rd1
te.
ts
of
ro~al
birth
and,
therefo:re,
a
fit
mate
for
Poltxene•s
son,
Florissl.
Leontes
finds
that
Peril.it~
ls
h1s
lo~t
dat,ghter.
wh~lt,
Pa~lina
leer.as
how
har
husband
O
Antigonus,
met
his
ll~a
th~
And,
finallJr,
Perdt
ta
is
restored
to
her
moths~, l!ermione,
who
ts
restored
to
bar
husband
0
!.eontes.
It
is
the
return
to
lif'e
of
Hermione
thet
gives
the
ftna.l
episode
of
l'J.!.
Winter•,s
Tale
a
vitality
end
ettaot1venaes
whloh
sre
v1holly
looking
.
26?
.IbtJ\ •
1 pet
~58.,
268u1r101~
Dr.
Hermann.,
Shaksnenre's
Dramatio
Art.
'P•
Mo
269 . . . . . . .
The
Winter•
e
Tale
I
II
1>
11 •
32
~
........._.
-
270Qu1ller-Oouoh.
_S1r
Arthurtt !Totes
on
Shakeu:112ee.re•s
y1orl0112n,sh!12o
Po.
258.
_.
t
an
..
. . . ..· · ·
Matthews
0
Brander
t
Shsltepa:ra
as
,!
!~ri;Sht.,
Po 337
e
instant
4068 Shakespeare aibtiit
us
to
·the,· oouno1la.
of
..
fate.
27
Z·
!.Ute :teontes.,
we
b011~ve·
1n·
the·aas.th of.Herfflione
. .
..
'
find•.
to
the
vert
'iset:.
>we
are
left
the
dupes
of
Psnltna• a
..
. · , · .,
..
2
'14
··.
· . -
·.
'.
. · · · · . · · · ·
·.
· ·
..
·
·.
. ... :
.,
''.
liev1ca.
·
We
experlenoe a genuine shook
of
s~prisa
..
therefore~
v1hen
tlie.
~eenii.ng;
statue·
stsrtr(to
11:ee
e.na
.
steps
,
"'
''
ilO\vti
f'1°oizr
th~ peilesta1 •
Th~.
statue
soena
·1,s
not
:::entirely-
free
from
orit1c,ten.
T'
'
1.
· however. t
Mrs.
Lennox
feels
thlt
Shskeepesra
bas
pxeearved
the
qu~en
'tor:
the
more
ea.ks.'···of'
hlvtl1S
' bar' t•epr~
s$nt
her
own
-statue:
in
I
the
le.et
$08?18
. anii
that
it.
ts
a
mean
encl
eb
su.rd
aoritrtvsnoe
02?6rittow
oan
1t
be
1n1aginad".
she
asks. "tbat
lie1~1one, a Virtuous
Gm.d
affeotionat
t:,
wffa_,
V1ouia·
o®.aea1
herself tlur{ng sixteen
ieai•e
in
es
oltttlry
house.
though
she· VJ8B
taensible
that
'her· repentarit·
hu.eband.
WSS
·s11·
that.
time oonatunil!g
awai,
w!th
g:elet
anti
remraa
for'
her
d~ath;
and
VJliat.
reason ·could
'she
have
£ox~
Ohl.Sing
to
·1tve·
in
au.oh
B tn1Sarable
Oonf!namEtnt
"\Vhan
Sb;;
'might
11.ai.te
been bapP9'
in
the
PO·saaesion
of ller
lnts'battd
1 s
affection
encl
have
shared
,.oo
•
.
ht
a
thX'ttt.H>?
276
now
ridi.culotts
also
1n a gre2.t Qtieon, on so
!nte:resti:ng
a.n
oooasion,
to
&tbm!t
to
so.eh
w£fonnaey
as
standing
on
a
padeste1
0
•
motionless.
her
eyes
f1xed,
and
et
..
..
. . .
·-~·
·'·
•
·.
. ..... .277
last
to
·be
0011ju1,ed
down
biJ
a
meg1oel
oom.nnna
of
Pau.11!!2•"
~
~t.
ss
Mro Oempl:1all says,
B:erm1ono•
s
l?efueel
to,
be
reooncile~
with
hor
httSbITTnd
"me;v.
ba
oxpla1nett
by
th~
oon•
aei~vablenase
of
n
m~.tbe1~
being
tmv11ll!ng
to
re,..embraae
a
huebantl
til16
mt1 orderect
.the
mttrdo1~
of
bor
·
child
[that
i.o.
- •,4'-.jt:/ • • •
~nught~,
end
_had
cmsed
the
.,1eath·
of
bsr
only
sonJ
•..
until
that
httSband
had
ra1:,ented,.
and
·tbo
·
lost
Pe:d!.ta
llad
been
·
.
..
.
re~torea"
•.
278
l!svi.ng
been.
esS1.treil
of'
:taontee•
:rrrponto3no
e.
.
.
I
"f're.nl:ly
ttnf
emtn1:na
0
because
ehe
f'o
rgt
ve s
~ar
h.t1abaµd
v,1
th•
·
. i . . •
out
a
·v:ora
of
repro£iah.
2
'19
.
Thie
is.at
point;
bril'.ae
us
to
tlw
@!rentest
cU.f'fictiltv
in
:i'~
Winter'
a
~.
the
ece.m:p!vg
of
tlw
reoogni
tton
·
eoene
*280
The
meeting
of
Leo:ntes
and.
Hennione
1 e
a
situ.at
ion
wortl'{v
of
Iabtche,
says
Robert
Bridges.
and
:vet
vie
are
276Ibiil
.....
I
e
877
.....
.
Ibtd
o
lea•b
.
,W
,~.
-
.
..
..
.
£Vaoamp~e11,
1rc.
~:
rn.t~O,.{!uot
ion {
1838)"
p•
..
lx!
1,
as
qu.o
tad
by
·Fttrne ee
0
11.
·
lf.
1
-'.A
Ilew
Va1~10:rr1.nn
Edi
tio:n
of
cn,.....,..k
.
~r·
....
~ ~
" --=-
.,
.
1;;
1
,!Q_
~
e~ee :t;a,
A •
p.
iO
o • ·
279
Matt~ev,a
1
B~de1',
Slla!tfil'le!'e
as
!,
PleU?x:i6'.ll;te
P•
538e
280
Qu1ller-Oouoh,.
Sir
Arthut-,·
1rotes
on
~l~e~11aara•,@
-
lV.q,:r-:Iopw.
~~}i.
l?1'
p • ·
2G5
•
81'~
m:J)ec·f;~d·
both
·to
..
"tel".e.
1:c
EHql-.lousl~
and
·co.
overlook:
it
oBSl
Whan:
Hermione
doscencls
from
the
pedestal
·into.
lier'.
husband
I
s
s~,·
the:
~11111,osa!b!li-tw·
ot·
:reoono!.3.le:tton"· is·]Xl.esad:
by
1n ·
silenoe
•282 ltennion<r
t,ima
to
Pe:rat
ta•
e.11xlou.s
to
·
know
where
~ha
bse
~een :u.vt:bg and
hof:1.
she
n.o,i111aned
to
oome
to
Leontea
1
oou.rto
J\...ncl'
Leontos·
buS1es
b1msolf
h1
finding
a
..
l1uebe:na
fibt
the
aged ~a ttt1attroctive
~ultna.
Hera
.....
a.s
1n
.··-it._1
__
1_
1
_s
1.v~ll
that
Bnt1s
We,11
tllcl'
('tymbsline.
fil'
..__.,.
......
_
~
~
JifJ
11i!
1F
tll'.7?1?
--·
~
'*
a•
Sh2,kaa:peeJ?e
ta·
baset
vi1tth·
the
dU:fttn.il·~r
o:!!
pxesentirg
in
a
veey
eh1rt
time
the'.
raoono!lint!o:n,
forg1veneaall
~uatment
,and
~storetion
of
gooa
v1!ll
bttween inj11.ted
(tnd
·2sa
1n3t1..rer,
a..
~rooose
in
1:teel£··
Mtu:rslly
~lowo
··
;
The
dre.mt'~tist• e
tuna
ta
a1:raet1¥
np
,~1hen·
11emlo:na
and
teontes
era
retttt1
tea.
~a..
so
he
n1arrles
of£
Pau.ltna e.na
oamtllo
tn
·
ei,Jmnary·
fashion.
:
Th(W·
e#re
the
only
ones
not
provided
..
for
exo(li,·t
1
..
uto.l,l'~J.s1
v1w
arops
:ou~t
e2rl;r
1n
the.
hst
act.
Bv..t
s.:f
S'.h.e.keep(:Jaro
·.
bnrrtact
et"Hlteet1~oplls
vih:toh·
he
lmev1
his
aud.1enoe
·roitld
aeoept
~~CW',
he
at
legst
mtl!Ef
his
etntue
eoene
more
~f£eattve
ey
bringing
the
curtain
down
"tmnwa1stely.
The cono lttaion
of
Sl1a.kespeare'
er
last
comedy
differs
f~m:
"hbat
of
ell
his
other
oomadies;
all
five
aota
of
~:
1' ... •• , '
,mas
,....,I#.-
·r' m
1
u,cr±nt
1
.,..t
n m
n
~
u,, .
t•
•r
-,
1·
rOtttir
28
1nr1ae:.es,;
Robort, ·
1
:'on·
·bhe
I11fluence
of.
tha
Aud!enoo" •
~
:
..
'The
YLo~,.2
p,f
VU.lliam ~l(ea;ea,s:r_a,, X,
p,
331.
282:tbtd " . - .
.
"'
-·
283Qu1lle1~-oouohi
Si1"'
Ar~e1n1..r,
lJotas
on.
Sha,kasues:re•
s
w,o~nsht:e,
P•
302.
·
--
-
·'the
T'em·Dsst
ll\.S:9'
llO
aaiu'>'.
·tii
bo
·an
erPlUdad.
de11otten1en·1;.~04"
..
,~-
_.,.'
oomi)lioot;ons
of
this·
Tilc::g
11'3.vo
l)t'4ooeua"tt·
the
oPoriing
·ci:Z
tho.iL.~·
•.
,:
'1\1el:1e
yea~e.i'
hava
1l2sss·<l
Sinoe
Prospero
tvtia
ilofraulled
of
his
frakedom
0£
titlml·
i.i;v
his
b:totha1fli·,
Antonio,
and
'st:doe
Pro
s1,ercf
2nd
bis
intent
daugl:it
ail\,
t~a.~aa.:.
cast
upon
the
me1~oy
of
the
see,
·round
refuge
1n:·
a uese·rt.
island•
Pl'OSP!>"l~O.
m·e
spetr~ .
thoSll
1':'1t1elv--a'
yeti:ea
.l.11'.tl1e
S'tttt1~/
of°.'
..
'
.
mogtcf
a.nu
ths
eutma.tt
on
o
t
Mi:fantla\.
·11ow
oomes
the·
day,·
·to
wh1oh
m
hl°t!J
lookau
i'or-!$vs.ra..·
witon
he:
onn
b1~111g
\rJithtn
his
potver,
b.i's,
()\T.il b:tcrthar
Olld
llia
a111a·,~,
•.
tha
King
o:e-·
Naples
• 4
I
en~
hi.s; bl'Otliar.·
B"J
·tl'.18
aid
o:c'
111's·
me~t.o..
l?"'.roe110ro
ts
ab
le
·to
ratse\e.:·tsmr,os;t'.wh1Qh
Wl~Gkt~
l1ia
$lem1a8
ttPOll
his
1Sltind
BS
tll()y
Gl~
~-tlbtg·
ltOrtH.:l\VBrd
from
tho
\Vetl{l.ing:
of
the
l?rinoet~s,'
ii1,
'l'tu1ts., ·
V!h~t:
:follows.,
-t!ts:1·.
itf
1~00111
the·
akillfnl
i1orlc1ng
out
of
!!roel)Sro*
tt:1
pl~.··
1n.1
1
anits
~na
Pard.inam:l
fall
b.t
·
··
!ova,
Just
as
l>rooparo
l11tonded
·tlioy
1
el1ou1c1
•
Tho.
mo.gio:la:n*
e
good
e1,r1te,
A1
1
iol,
frttat:t~tes
t11e
·ocn.1.nter•plot
c:£s.1uat
the
lti11g•a
11fa,
f~l:llled
by
P~sparo's
bro.thor.
Antonio.
end
the
King
1
s
brothor
1·
Sabastian
o
And
the
malevolent
aarviJit,
..
.
Oellban.
and
his
net,
rulers;
the
Kttig•
s
dra.nlca11
butler
and
e
jester~
e..1
...
0
pursued
lly
P1~oapero
1
s.
er;1J:1
ta
for
1,lotttng
•
eecinet
hie
l!fa.
FtnaU:v; Prospero
con,3-nres
his
enam1es and
e.11
the
·-~
rast
of
the
ship's
crew 1ntc
one
magio
01role,
forgives
the
.'\
contrite
Ktng
end
his
a
am.paniot1s
0
reveals
hts
tdant1
t,r.
and
restores
to
the
xtng
hie
,aon
ana
hie
shtp
1:.na
orew •
The
X1ng
then
willingly
con.sen.ts
to
the
msrr1ag-e
of
Ferdinana
anll
lH.J:enia,
Who
are
to
ro.le over :Naples and
l1£11sno
When
Ariel
'brings
1:n
Stephano.
T~1n<m.lo
and
Cal1ben
2
they,,.
too.
are
pardoned,·
bnt
v1!th
the
provision
that
they
put
Prospero•
·
cell
in
per~eot eondit
ion.
At
last,
'having
atta1ne4
e.11
that
he
desires
and
mving
oommi~sloned
A~iel
to
arrange
a
favorable
journey
be.Ok
to
l!aples,
Prospero
gtvoe
hts
obedient
servant
hie
p:tbmised
freedom end
then
1to~sta
his
msgtc books and f!.itstf
into
the
depths
of
tha
sea"•
28
5
-
OH.t1PTER
II
I
,
S1!A.X8SPEAR~S
TRAGEDIES
.
ws
nottoa
at
onoe
the
difference
!n
the
treatment
of
the
.'
".
catas~rophe
in
the
two
types
of
drama"
on
the.
whole•
~he
dre.metiat
seems
t~
teke
mor~
ce
1~e
to
rc,nnd
out
the
ootastrophe
.,
.
of
tragedy
tl1S.n
he
toes
to
close
a.
0001edy-
Instead
of
..
. . -..
'.
'
lea.vi~g
loose
enas
0•
as
ha
oft~
llo~s
in
the
latter,_
he
is
C ,
'..
USU£:J,11Y
rel1:1,otant
to
let
the
s:tt~U.~~a go
~t!l
ha
ha.a
carrie
a.
it
a
li~tl~
beyouna
tha
tregio
ena.
Moreover,, the_
oatastropha
in
Shaltespes.raan
tragedy
follov,s
almost
in•
evitably
from.
the
deeas
of
men, md
the
main
sou.roe
of
these
"
deeds
lies
in
cbaraotar
~
For
thesa
1'9asone, 1 t
1s
almost
· impossible
to
group
the
trs.gediea aooord!ng
to
klnd
of
end•
ivg.
There
are
resemblances
an.a
differences
1n
the
dete.112
of
the
f
ittsl
resolutions,
it
!s
tru.ei
but•
tn
genara.l,
the
oate.etropha
is
the
dtreot
roattlt
of
all
tb!\t
has
preceded
and
uso.a~
finds
1
ts
souroe
1n
B
f1e.w
or
waaknese
of
t
b9
main
ohamoter.
In
3uliue
Caesar,
the
first
t~.gedy
wo
shall
di.
souas0
th0re
m.ey
be
aata
to
be'
two
points
of
oats.strophe:
the
ftrst
~or Oaesar0
the
second
for
the
oonsp1rators~-1
rn
the
first
lla;Lf. <lf. :the
play
0_
the.
~-o~.ion.
turns
upon
the
..
f'a.11
of
Oaesar
·~a
in
tba seoond upon
the
feta
of
Brutus
ena
Caae1ue •2 · Both pa-rts cff
the
eotton
a.re .
conneatad
·
externa11~ • however,
ln
EO
f~r
e.~
tha
au.bjeat
of
the
s~tton
,.
' > '
,:
S.n
the
.ftrat
~rt
·1e
no~
-~
mu.oh
Caesar•~
death
as~r
1n
reslitw
t
the
oonsi:,1:r®;i;'
e.gat~st
h1
a
supreme
:powei-
and
the
~ttemptto
·restore
the
reznb:U.e.
5
.·
..
In
tle
tGOond
1'>art.
·
th~:
we
Sae
tl,e
GO\trse
~u
the
u.nbe~PP1
t~lt11nation
O
..
f
this
U?lde?'tald.ng
:4,
MO
l'OO'Val'
•
ev~n
!f
Oaesar 1
$'
killed
in
the
middle
of
tho p
ley.~
hi.s
ghost
ret1tr:os
Wt,'18rd
tlio
end,
e.na.
hie·
aptri
t aom1ttetas
the
a.<1tfon
loll~
sftel"
hie
death:
5
··
.
.
. ~otwl
thstandi!!g
these
ocmaUtere.tto:nst. however,
the
..
lest
tivo
eots
of
the
p1eu
do
not
gqual
tlw
preceding
acts
1n
ou"twa,..a
~U'ioenoe
i:ma
rsptait;v:
6"After
the
overthrow
~f
the
_external
eplaniour
and
greatness
of
tl1a
Conqueror
and
ruler
of
the
world,
the
!ntrine1o
gratnlattr
of
ohsreoter
.
'
,,
'
'
'
:.
of
Bmtits
sna
Cassius
le
ail
that
i-emabls
to
fill
the
stage
e.n,1
ooo~:w
the
miruls
of the
epeotato:?e~,,'7 ·
And
it
is
iaes
exotting
to
v1stah
Brntus
and
Oaea1us supporting
the
itonsequencea
of
the
aonepira<ty
w1
th
heroto
firmness
tlw.n
2
u1r1ot
1
D~.
Ha1,1u11U1.
S~lts;naare•
E!
Dramst!o
Arti
P•
·
1950
5!b1«t.
·.
':toia.·
1>7
Mi.
.,
-~,
t ,
l)
.
0
itatthaws
1
Br~ndart
Slm)S,~~t'Jl
!:!.
!:,
~lp~wrt~htr•
P~L
260.,
.·
6
s0hJ.8ge1.
A:
w
:,
,LMtul'es on
:DramBtio
.A:rt
and
·
. Li·tar!\tm,o ,·
p •
i,.:s.
. · . .
~.
0•
'n1a..
-pt·"···,,
'
...
''
1t
·ts
to
obS<.'3r'V8
the
fo:rrratio~
and
8X80Ut1on ·of
thetr
..
haaa:rdotta
iieterminet
ion
CJ
a
This
does
·not meant
of
00ttrf38Q
tl~lt
ou
...
r sympathy'
is
'
·::
, ' '
,,
' ' '
','
'
:.
·.
'
·.·
' '
'.
.·
' '
i'·
. ' '
not·
'vi.
th
Bru.ttis.
If
1 t
were
mt
v1tth
him,
we
wottlil
be
lees
. . '
ooncam··ea.
a.bout
·tha sudden
np~aprtngtng
of
so
..
ppresaed
''
'''
'.': ''':'; ''
:'
:.
··.
''
'')
1nd1
v.iduali
ty
1n Antony' a
oharaoter
• The
action
se~s
to
. .
be
retarded • ~wevar O'beoausa ·
the
oonepb:•atora
~re
not
6.di?lg atlYthh;ig
•.
onoe' An.to~' i's'
permttted
to'
axerotoo' :hls
epeli'
upon·
the
Roman
Jleople/ Brittus
e.na
' caes1~1.s
b~o~m:e
: ·
pcr,1erless
against the·
quic,k''
~ott.~n
of
tha
tritull'ttf,n3
.~
.
And
the
Si100$SS
of
tha. 0
Oilsi,1:ra:ci
soon arnmbl~s
into
m1~.:·
..
' .
, Although
·t!1a
deaths
o'f
1Bruttts.sna Oasatus'ar~' the';·
1ee;iti~te
·result
6l:'
tbe
esoo.aetrlition ot Oaaear~
th~·
do
' ' '.· 9
·.
'
:.
·.'!'
··:
' ·
..
'.'
'':
,"
:.·
'.
'
''
: ' ' ' ' '
..
•
evok~
l?i'tlr e
Unlike
the
oon~u.ot
of
.Maobeth.
which.
is
the
result
of
murderous
smbitlon~
B~tue·•
mode
of ·aot1on
::.
.'
.,
grows
out.
of
a.
mistaken
senae.
of. du.ti •10
•.
His patr1ottan'
ts
so
J.rtenee
ar.ul
genitine
that
it
leads
him·
to
sao:riftoe
to·
tha
v?a:tfare
of
the
re!Jl,tblie
not
only
Oaeaa.~
but
21130
. '
' '
hi.mself,._
Bu.t
while
Brntua• motive
!s
noble•
1t
is
also
mistaken
oll
His.
dec1a1on
'to
join
the
oonspiraoy
·ls
.the
.
,.,
.'.''.
raa1.l
t
:Of
most
!llog
1cel.
reasoning•
And
even
~te~
he·
l
a~tt;:·
,
J,.U.I,,U..
_9Fiem~n~h·
We
Ho, 8hakespas.re•a
Plots,·
P•
Zl3~
1oibia
•.
.....
q
•.•.
lltbido
' -
atpAIW·=-
...
'.;
sacrt:fiooa
his
best
fr1entl
,for
£ea.r
tllat
friend.•
in
the
,,
. . . 12
f.u1;;ti!to, :ll'lcy
deat~y
,tm
11bert1es
of
the.
nom?.Jl
peoplet
:ernt11s. oonttnues to,ine.Ite tho
1J1rong
movcHao
· Ha
arra
1n
c,.llowitAg·
Allton;,
..
to
malta
tha
fttt-,era~
~re.·t1o:n
e.nd
!n
JleU1d!ng
~~
'
to
ma.:,.·t;J~
to
.
Phtlf:ppt
aentnst
tha el1ret1dor
t,dvios
ot
oo.sstus.
o I I
•a
Inae_nmoh;
as
Dru.tu.a
doss
tvn,11g
·
th:rmsb
mistoken jttdgment,
howa;er~ rath(1:f! tl~:n
throu~h
ev1·1
1~te:nt,
13
vul
pit~
Jit~
es
. ". :
\'
. .
"}
., ;. . . ' '
",
'
,;..1.
h,1.
:tans.
on
his
swora •
..
'
. ltr,,. ·Groin lomants tl1e
tact
tl2t
Jtt11ns
Oseesr
is
:not
~1t
.Mi
tq;¢;t"1'
S11i.t
~.
~
bl'0t1Slrt
to.
~n.
end
wl'le.n
tha
veopla
1:nsh f1i·m1 ·tha
fottnm
to
the
houe~s
of
·t
be
e
011a1,tratora
~a
mete
out
the
tr
rawa~d·
to
them.
with
overflo\1b1g.
oti.pe
of
w~th.-
instead
of
raoohing
a
n<ittw.
COnolusion
tn
01~011r~
steal
end
blooa:
14
:ant
to
ena
r
the
plAy be.fore
the
oonsptra·tors meet
their
fate
ts
to
leave
'.
ii • , '
'I
1t
1noom11l0,te.
~f
ony~h1nt~
spoils
t~
simple
greatness
of
the.
~cl-oae
of
.its~lt\!
Ceu:tea:r
1
lt
1a
the
subjaot
of
the
~on
....
9luding conversation betw~en tte~saltl~
~
S·trato •
encl
oate:vtus·.15
Tbs,
P1':>moti.on
of
l3~t11.s1
aervant
to
the
:ihvor
of
ootav1u.s
ia
too
.Pott;,·
a
detail
to
d~r?.:nd.
attent1011
at
the.
verY, o.losa
~..
18
of
the
d~a.
And
yet
v1e
ah.01.iltl
g:J.s.d11
overlo~k
thls
irrrtrr
rti
1it
f ft
$0
·,
'
>tu
iltlf
Al
.
jj··Wt:M'{lr
1 t
94.
small
fault
if
the
play
would
end
w.ttb
J.nto~'
s
sign1ftoant
words,
''This
ws.s
a
I!Y£!.tl\,nlf
Vie
sllould
l1ke
to
stop
here
and
feel
tb9.t
all
is
fin1shed
6
instead
of
being
~em1nded
that
politioal
rearra.ngements and
the
di.Vision
of'
apotl
are
yet
·1a
to
come.
The
eotion
of
Oor!olsnus~ aw.,ther·
of
Shakespeare~
s
Ro~n
tregedtes
0
also·
exhibits
two.
di
st1not
·movements~19
Tha
first
one
temi!natea
in
the
banishment
of
OorloJ.snue·~
~
20.
. .
the
seoo:r.ul
ends
in
h1s
death.
In
this
play•
however.
both
parts
of
the
aotlon
az-e
oonoemed
with
one
sub3eot
on~
,..
tha
fate
of
e proud
man
who
Boes
muoh
for
l~sfoi
ty.
but
ivho
open~
manifests
his
mtred
of
the
popitl9.otn.
l1iottiover,
the
banisbnent
of
the
hero
ts
bt?-t
the
beginning and
toreab.adow•
ing
of
the
final
tragic
ena.
21
The
pls:y
is
rather
halttlS
bl
its
px-esentation
of
the
22
oa.tastrophs,,
l»weveri; · soon
after
the
great
soene
in
wb!oh
Auf'idu.s
reoa!vas
Ooriolantts
into
hi.a
homa
in
Ants.um.
we
beg1n
to
feel
tmt
Attfidue
1s
befriending
Oor1olantis
to
17
Ju:U.us
Caesar V
~
"I~
75
~
lf.\1oodbrtilge
0.
E11sgbeth
••
The
Dramae-
P•
91.
.
.
...
~
.
~
u
··
..
· .
·
Snider.
D_.
J
,,
Szstem
g!
Shsl~eFere•
s D
1
ramae· (
1877) •
Vol.
II,
P•
1!215,
ea
quote
1iy
'.hiir.neaa,
M~
He•
A
..
}Ta~
Variornm
Edition
.Q_!
Shakespear.~.
XX
0
Po
6Gtr.
20ib1d.
-1
.,o -
21Freytag,,
D~•
G~stav
•
.Technique
of
the
Drama, Pe
1310
22
hr.ness,
Ho
Ro
0
!
tTew
Ver1oriuq Ed1.tton
.!!
Sl1eltesEoai:e
0
XX,
Prafaoe
0
P•
IX.
his
ov1n
ad!entega•
and
we
,are
amtious
to aae
what
the
fu.t,ire
wtll
'6rU:1gt).
First,·
th6ugh6
w~
mu.et
retUffl
to
Rome,·where
~a
le~m'
thail
OQmlnius
baEI
ttSited
Oo~1ole.nru}
s:na
unsri.ooass•
tul.ly
ur¢e~
him
to
h!ve
me:NJY
on
Rome.
Afte·r
nnch
persuasion,
!J!enen1ue
is
prevai
le·d
upon
to
go
to
oor!olanus
and
to. beglrl.m
not
to·
3o1n
foroes
vii
t.h
Auf1llus
aga.1nst
..
Rome.
.
.
'
.
'
Bat
Meneniua
rilso
fa1
ls
ln
b1
s
purpose.
T~en.
comes
the
meeting between Oor!olal'lus and
hts
m·,·
mothero .
!t
.ls
a
vsry
tou.oht?lg
soene.
but
Oorlolan~s
ts
appe.rantly
unmoved
b~
Volumn1e.
1
s
pleas.-
The
long
interv!ew
'
.
'
ts
·e.1:out
·to
close
with
Cortoleniie
st!ll
pem.stingltn
hia
revengefttl
design
to
st~nn
ana.
bur.n hi~
~at
tve
oi
t;r •
~hen
the
hero
:final~
promises
to
save
Rome.
This
is
tl1e
ohanoe
;
. '
-
-
'
.
.
fo~ whtoh
Auf1dtts
has
been
wait!l:ijJ., When
Oor!olanus
comes
'
'
before
the
Volaoien
lords
to
dtsoueee
the
terms
ot
tha
,
treaty
with
1
·nome, Autitlue
oalls
him
a
traitor
sid
his
aonfeuerat~a
aesase1!Je.te
him.
O".ae
reaa:,n
for
the
apparent
retardation
of
the
catastrophe
lles
tn
the
long
scenes between
Aufidus•
~
' ' +
se~ante
Eltld
the
111uffled
.
Ooriolen.tis and
between the
sm
tinels
., . J.\
u
i
m1t
, . . 23 n
,.-
....
,.
an"1
J.~1.enen"'us_,
±J1ese
ec•~e~
.azia
emu~.ng ·
anu
S.a~aspes.rs
t"$afusee
,:o
l:'m.~
them
be~au.se
l1e
..
ts
oogn1zant
of
their
effaot
ttpori
the andienoe.,
.A~
:Mr.,
l3rad1e~
points
Qttt,·
'!hat
ta
~tts!r.€:
in
Co,r!=ot~~y.s
1s.
for.
the
moat
xart~
simp~
:.
emuatng.
a~u
hs~1
no
t~;gio
tinga.
24
_Even
the
lnterrupt!on
of
Volnm.nte.•s
spaeoh
by
young ?lnro!us• • .
••
A•·
shall
not
tread
on
me;
I'll
run
away
till
I
em
bigger.
bt'
..
t
th~n
I'
1l
:i!tsht"1
2
1:L
.
mekes
us
laugh
almost
without
resarve~26
some
crit
ios
tael
that
Coriolanus 1 a
su.oh
a
diaegree•
eble
f
igura
that
we
oord:cy-
oare
what
beoomee
of.
him~
ar1d
:.
.
'-'
so
lose.
interest
m
hts
fa··ha.27
ma
attitucle
toward
the·
people.
£toes
tmika
us
leas
~-mpathettc.
tov1art1.
him.
bttt.
on
4. • '
the
other
ban~~ the_
people
fai
1
to
aprraoiate.
VJbnt
ii,e
bas
clone
.for
tram. .ltnd,
l10wever
we
tee1 ab~u.t him, 001/;ciol~us
has
saved
hia
soul~
1:t
not
his
llfe
0
when
ha
gives
way,
to
...
.
bis.
mother•
s plea.a.
:l!hE.f
endille.
would
l~ve
been
more · , ·
strictly
tra.gio
tf.
ha
mil
p~rsiateir
1n ,_setting
.Roms
afire
Slid
then
'.hltl
taken
ve:ngE3anoe
'!1,POll.
himsott
as
soon
as
ha
realized
the
~notmity
crr bi's
deH:3do
28 · The
·play
ts·.
mttoh
·
..
2GBradley.~ A•
·o
.....oo~,.01sm1s
(1912),
P•
3•
ae
qitotad'
l>y-
.
..
.
furness,
Ho
ii.,·.!
ffaw
'ill\~ioru;!
1!<!1.:tJ.M.l!
.Q!·
Sl,aka~pe~~e,
XX•
p'°;66" • · \
27
Ft.tmasst, n. n.,
!.
Me\v
Vt:triorum
Edition
St!
Sbekeeneare0
XX,
Prefec
e•
p,.
IX•
· · · . · ·
~
· · . ,
28 . . .
Bradley
....
·Ao
..
· O
.,.,
..
· Slw.l:osnosroe~
TraP-;ed"fr
....
·.
th·
84
•·
w •
rtX;I
·lllltt-'
.,"'8 V:
'.
·
·fl.
' .
·20
itob1ar. ·
though,·
an
Ur
stand
so
',J"'
!l!hose
people
v1ho
believe,
that
ra\varas
·
end
}li'U'lt
sllln.a:nt
s
ehoulu'
be'
atstrtbutod
eooo~dil'lg.
to
.merit
w111
feel
tlW-t
Oortolantta
meats
a
aeservati
death
for
bav1ng ·been
di
aloyal
to
Jrl.~
·
countru~
30
Bat·
they
i1111
also
t~el
thl
·t Attfidus·
1 • ,
t·.
:,
..
shou.14
not
s1UVive
o:r·
that
lie should
at
.
least
not
8"11.rvtve
~pim!she«•·
end
tlnt
tle
.
tw~
trfbunea•
S1cin1ua
and
Btntuett
virho
were
1nstrnments.1 ·
1n
bringing
·about
tlla.
bsnisbnient o:f·
-m,rlolcaus"
do
?lOt
desertra
to
11ve.5
1
Tl1e
on:l1 snaiver
to
this'
171EJ~J
is:
that,
in.
this
~o!'ia.
the
good
s.nd
the;
bad
:llf'hen
.aha.rs
al1lce
and sanetimas
the.
baa
saem
to
take
preoeaeno
9·
<ii>
over
the
go
oa
,/
Oorioltmtts• 3
..
1k$ .
Ju.llua
_p~o
1
SS1', does
i»t
0nd. immediate•
·1.y
afte~
t.hJ ·death·,
of
t·ta
he~•
.
The
Vo1So1an
lords
:are'·
.t
',
·.
, .
.,
,
I \ .
,•
ehoolc:eli
as
they
See
Au£1uua
etsnl
·on
the_
c1ero.d
'bodf
·of
.
Oo:rlohffiu'a
ana th~y
~~u;t/
"HO:ta,:
hou.1;"
Aufldua~ hi ·
'aaf~noe
0
,repJ~1es
·that
they·
vi11
reioic~· tn Ooriolantts•
..
..
.
a~ath
wlien
they·
io~n1
bov1
da.ngei'b()us
ha
waa4
T~
lo.rd;
·then
order'tha
body
to
be
borne
otf
encl
111tlmiae
fitting
funeral
'
..
~
.
{
.
'
.
.
~
.
•.,
.
rites~.
€mo
.Ati:f1dutI1
1!8!;8
gtvCJs
plaoe
to
Et,)rrow..
Tlm~rwe
:~ro ·e;iowed
t~,
ooto~
ou:r
br®ath
befcra
the
final
au.rte.in
falls.,··
..
980
..
'·;-
, .
~obetlt,
~n
its
intensa
..
:rapld1ty
ot
aotion,
suggests
to
Brrdllder
M:o.ttl1av1s
ffttia
rushing
ev11:ttness
o.t
the
oatoraot•
a
.··
·.,·
,,
.
.·
. . . .
·52
'
rapids
hur.ey-!ng:
res!atlesa
to
the
·final
fall"
o · .
Certain
it
is·
that
th.a
eotion
strldEHl
forws.rtt wi:th emsztng
speed··
from·
ti1e
time
qf
:Dtinoant
s
nm.rd.or
to
the
death-
of
.Mo~ob·ath.
33
After··.tho bonquot
soo11e,
t·hov.gh,
tho
action
'
1
wavsrs· s :
little
ana
·
heei
to.tea 'before·
attffen1ng
J
..
tself
again
to
..
_
set
.··
. . .
··.
. '
',.
·54
.·.
.
j
before
ue·
the
dread
ap:px-oao
h
of
l'atXi.1.rut
ion••
·
.
The seen
e
,
..
bett1een tte~bGth.
end
the
r1oird
siat,rs
ta
ratller
lot1S,
but
lt·
1s
neoaSsa??o"The
VJitohes•· PfOllhGOtea
about
B1~1am
.,
wood
e:na.
·
about
"nona of'
wom2.n
bornq.
be.xmins
Maobeth
sra.
w1nt
buo.y
him
"O.P
for
his
last
stand.
The soenea
in.
v&h
L9.ey
Macduff
pt•E:-ttles
\11
·th
h«e
oh1l.~ran and
1n
.\iJ11toh
,
Me.odu.ff
ts
told
of
t11eir
mttrdar. l10wavar,
are
lmrdi~
·
.......
·.
·as
<lramattos.lly
necessary.
·
P.JJ.d
there
ta
ve:rzy-
little
·art1atto
exo·a.ae
for
the
OOftVGrsat~on
alx>~t
touoll~
the
k!.ng
to,
0~1ra
111
tha
evil
"
1• 36 Theaa soa:nas olaf.m only
ca.au.al
atterit
ion.
wh!le
we
ere
eeger
to
fo
lloiJ
th~
fm.te
of.
0
2ivtatthaws,
B~.n~er, '3:hanapet!
~
pP1§Y!1f'ifiht~.P• 314.
d~
'
..
. . . '
oc.,Sohlegel,
A.·w
..
;
Leo~u$GS
(trans.
by
3o
Blaok•
1815)
~
· .
Volo
II
0
'Po
1ge;•
ao quoted
by
lrJ.r-.aoae,
Ro
I·t.,A·
·
~
v:a~t.o,z;~
!~l.
ti9Jl
9,!
,Slinkespea~tt"
I!~
ll
~.
4~!'
~att~~ws~
Brande1~. §ha~eJwre
a.a~
.Ple:y:wrtght•
lh
300.
55
!big~.
'P• 5180
36
Ibido
----
Macbeth
and
LQey
Macbeth.37
on
tl1e
other
band,,_
there
1 s
egaln
s
iJbarp
tighten
mg
of
tha
drametlo
intenst
tu
1n
the
final
:passagea,
38
ana
tb:e
whole
plaY'
is
so
short
that
we
soal:'oa~.notioe
the
reta.raetion
caused
by
thesa
extra.neons
episodes,.
The·
oats.strophe
of
Me.obeth
brings
us
aga!.n
to
a
disou.sslon
of
poetic
juet1oe
in
Shakespeare•
trlriot
sets
about
to
find
some
justlftoat1on
of
tlle
downfall
of
eve~
person
v1ho
has
no
bani!
in
the
tronsgressiona end orim~s
but
who
ts
final~
PMlslled·
sn;vwar.,
59
The
German
or1tie
reasons
in
thta
:taehton;
Du.noan
fslls
beaaooe
he
l1e.s
r.iot
p~operly
fttlf!lled
his
duties
as
kmg•
The
nt1D.19rou.s
revolts
e.gattlSt
hie
.
'
government~
in
th.9
S1ppress1on
o:t
whioh
I~cbeth
:p);Oves
his
heroism,
are
either
the
reailt.of'
erbttracy
rule
and
in~
justice
or
of
unroyel
weakness. Malcolm snd Donalbain
have
to
su.ffer be3!isbmtmt
beoause
of
their
iuunanl;v"
flight
to
England
after
t
hair
fe~tbar1 a·
dee.th [ I
wonder
lx>W
!Jr.
tTlrt
ai
woo.la
.• ,
just1~
11
Ma.loolm'
a aao
esa1on
to
the
throne
of
Sootland]o
Bsnquo
brh:gs
destru.otion ttpon
his
own
·
head beoauaa he
ts
onri\lus
to
kriov1
hie
glortou.a
deeoentle.nts
and
oo
rouses
tha
·3aalou.sly
of
Macbeth.
And, finall.l1'
.•
8
'Ibta.
58
tb14~
-89.
. .
..
u1r101
0
·Dr.
RernBnn.
Sl:W~kspae.re•a
:Orematto:W,
J)l)o
473•4Q
i
100.
·
of
their
natural
proteotor.
v1ho
lee.vee them
bahinct
to
saoura
hie
own
safety•
He 1s
ptm!shed
by
thal'r
death
end
-...
preposterous
idea
-.
Letl~
Mac&tff 1tr
punished
~or.
the.
un•
loving·
~~pertty
with
,vhtoh she
ra1la
at
her
husbtlnu
1
a
conduot t
o.nd
1.~hus
g
!vee
us
e.n
insight
into
a
ll)J?lrriar..~e
whi.oh
VJtrHl
po;~11apa
el.eo e
motive
·for
·Maodnff'
s
mety
end.
seO'li:"et
flight\
40
·
The '"31.1.attficat!on·~,
o~··
raay
Ata,odt1ff
1 a
fate.
shows.
I
thtnlt,
tl1e
absurdity
of
t~r. Ulr1o1'':,a
reasoning.
Ev;ffll.
1f
ireouitff' s
fJ
..
tght
wee
no1i
wise
or
judicious
in
the
interest
of
l11a
ft:J.mily •
to
represent
tt
a
ooneequ.snoos
sa
e ,judgment
on
l"li.m
for
w...nt·of
du.a
oons1deratton
ls
monstrotts
and
..
1ud1oroue
/;
1.
.P~d
to
m,,ggeet
tlst
mart
tal
ilif'f!ou.ltles
aattsad
J{1im
to
lasve
home
ia
to
road
into
the.·
plaf
a
mee
..
~i21g
wh!oh ! a
not
present•
Tlw
element
of
poetio
jttatioe
is
not
absent
fn>m
Shakespaare•s
representation
of
life
ar.w
more
tbJ.:m
it
is
:f':r()m
life
itself'~
42
Bu.t
itl
both
1
t
sometimes
does not·
appear
at
sll
O
and
in
bo
tll
it
e.ots
but
imperf
aotly
when
1
t
.
.
.
'
does
e.ppee:r.
43
.
In
Msobeth,'.
Ptmisbment
fall.a
et
.la.at upon
.,
'
101~
tho gu.1lty- hnsband and ~be ·t\iltlt-i
v11:fe~.
but·
that·
does
·not·
matil:1•.
es
:Schlegel· as.ye.,'
that
·shskospea~& ':follows
·an.
accurate
Scale·. of:
~ete.listion~rta
fn~.
as
tt~: o'tbor
Cba:t~ater·a·
of
'the
pl(\\1'
,are·
oonaor.ned·•
·
Af·t,/!J7t
all
0
)1owever·,
thta
iS' en
ttn!mportsnt
matter•
Vih~ttt
srrest·s··our&ttentlon
in
i.tt\obeth.
ia
tm·gradtml
tranoto:immg'power··oi'stn,
onoe
it
he's
taken
,._
..
,.
.•
. . .
'.
I!)·
t'
'tr..;...
.
··1·45
' ' , ,
:c~-
1>oeseaslon ·
oz
.uu
sou.
• · · ·
·Tbe
tragear
ends,
·111
the
·sbs.."tteepearaan
manner,·
i11itb a
re.tur!f
to
the;
praat!ool
affairs
at
l~nd
ma
·a·
forviterd
'look
.
-
..
- '
to
·a
lHatter
tilld ·happtor'
time.
·Me.io.olm,'
s:twa1~a
·and
:Roes
ask
es.oh otliet> ·about
that~
m1ss111,g
:e~1·ena.e(a.11a
s1v1ara
learns
that
·M.Ei·.stta
has
di.oil a noble
soluter
1
S
aeatht
Macduff
tlien
enters
.oe~ry!ng
l:1!aobeth
1 a
head,
end ee1tttES rlfaleolm es
the
\ '
lttng
of
sootla.nd,
And
after
lialoolm
promises
to
make
his
compsnto~s
earls
and
to
cell
home
their
exilad
friena
~··
•
..
the
'JJlcy
is
over•
· · ·
Aithcn.~h-
there
ere
tv.10
oentr-al
ohar~.o·tere
in
Me.ebeth.
they
sra
not;
of
aqu.al
impor-te.no,e
,
46
·.
In
eaoh
of
the
~ext
two
plats.
howeirel', tha1
111
a
s.:ra
two
·o.ba.raotara whose
fetas
are
eo
wrappelt
up
iii
ea.oh
ot.her
that
wa
ae.y·
their
nemaa
ln
the
acme
breath.,
· These .:pleya ·are,
of
Coux-se,
Romeo
SJ.lld
.,
.
102et
Juliet
.'and.
Antonv
png.
Cleo~tm,.
·
i\ncL.
tnoiden.tally
....
there
--J
fll,.
-·-----
If"
•
are
'meny
simi.lai'i.tiaErbatween theu.~· oate~atro11hao.
·As
Viotcn.~·
lro.go·
points
out,
eaoh
play
e11ut~
a.mid
e
:f'uneraEll
etmoSphere.
4
'1
ln
Anton;;
~
Cleo
pa'!;_~_.
the
£iml
sooooe<tclt~
plaoa
et
the'
tomb
·of
the:
Ptolemies;
t:n
J!OP\~S
_
~'.
.;i)i11~t.
·
the·
:ts.Ere
sc,enea
are
ens.cited
et
the
tomb·
o:f
~the
Ospulets,
Tl1a
eepUlohra· is.,the uJ:time.ta
t~st1n£f
plaoa
for
both
the
pagan
and
the
Olu-~·stien
lovers,
w
1n
have
'beetl'
·
driven
to
bay"
by
adversity.
:
In
the
two
draniaa,
the
some
eff<)r iS .followed
by
the
seme
conaeque:noea:
48
Antony
be-
lieves
that
Oloope·tra
ts·
uaeil
ena·
kills
himsel~;
Romeo
baliev·es
·tmt
JulfErb
io
aeaa.
~tl
kills
himself.
A11d
the
devot:t.011
of
the
\,ane11
i's
such
the."c
they
refuse
to
save
·themselves~
49 The
one
withetends
·'the
eo
lio!tnt1ons
of·
Ce.esa.r
:r,nd
t:rusts
only
her. i'eaolutio2:t
e.a
she
apJ,ltea
tp.~
aspic•·
The
ot'.heilli
real
tft~
tb~
prayer
of
Friar
taw.~enoe
e.na
joins
·ncineo
lli
death.
Antony
em
Cleopatra
live
in
a
ttw:nne:r
entir~~
iii:f feretrc·
from
that
of
Romeo
ani
:Tuliet
.•
but
t!1eir
tnf1n1te
love
a1.1.p1'>res:.·aa
el.l
otlwr
dif:,erenoes
betv1een
·h'he
·two
·49rM.do
---
.
ooti~les
e.11d
ot'l:noaa
all
distinction·:
bet\riteen
the
il'll10(Hfa:rc
·
e.:tltl~the
~U.V
•
OO.
·
!17ha
.
ilyi~
E~ptim:!
E!qu.ele
t
ha
,
Veronese
in·
sso11y.,,
·And
whatl
Oltx,pe.t?:e·
ltllla
h..:ttsalf
for
1~.ntony
0
ehe
may.
well
·be
110rinitted ·
to ·
oaiJ.
him
_,her
ltrtsbe11cl.
· . · ·
Slmt:Ja1~
Qs
!tttonl.
and
01eo11~tr~
ana··
fUltn!)S.·-~~.
l3u~!~t.
a1~e
in.-~1~,ma:tn· p®~ts
cit
the
oeteetrophe,·
l10t~1eve1",·
they·
ao
di:tfe~·
h1.
·
a.e·ta11s, · The
deetlie
of·
the
lovers
are
closo1~
togetlwr
ln
the
-htteJ:
11:tay
tm:o tl10y·
ere
in
tlle
fomer.
Romeo
6.0(JS
not
die
until·
ths
·
third
aoone·
Of
eot
ftva
is·
well
unde1-a
~.
whilo
Antoey d1os
ct
tbe
ond
of
tha
fou.rth
~·
.
~
eot
o
l31l.t
Shal::ospauro
l<e·epa
up
the.
1
ntarsst
to
·the
ver1r
Grid
of
A.nton,z,
and.
01eor,etr--J.•
51
Ws
toot
;
only' groe·h
Olaopitra.t
s
'.
,,.
_
__,;,.·~-
,..
..
"
;
ilea.th
wi
tl1
·ai1U1pst;~ antl
adxnil,fjat;on,.
bt1.t
wo
ro;loto&
at
tha.
·tmug'.hir
of
...
bar
:,J?61ling Cota,tiu.a,
52
·
1tnd
these
feelmgs
are
0111:ty
haightuneu ·by
the
a.oaths.
of
cma.m1t:J1
~?.d
xras.
who
ate·
ho1~otoa.lly fotthf.111 to
their
mistress.5
33
·we-
do not'
feel
a keen sor:row
at
the
deaths
o
:f Anton~
and
01eo:patra·
tM?l
WO
f!o e.t
too
d~aths
of
the
hero
lllld
llG11ao
111.e
.
1:n
:·Romeo
·
e:na.
Juli
Ert
or
awn
in
·
l~/inlot
ena ·
Othello
IL
ttn
.~~~....,.
.,
1HJOD.tt8e
"they
are
·
al.really
ta.t11tsl.1ed
e.nii.
Mlf
•ru:tnod
by
...
•
,di
...
their
past~
54
We
do
not
look
beck
and
thin.k
how
noble
or
besu.ttfu.1
they
were
or
aream
of
the
life
they
m1ght
hs.ve
lived
if
te.te
had
treated
them
aifferent4'.
Wf!
feel.
that
tt
is
better
f~r
their
own
sake
a
tbat
tl:ey
dia.
In
dee.th
they
are
nobla~
55
1040'
Shakespeare
no
oou.bt
bes
the
same
impressions
tn
mind
1ivl1en
he
makes
no
effort
to
soften
Oleo
pat
re.·•
e
death.
·
tn
Romeo
en~
3ul1at,
on
the
other
bsnli •
the
dramat1
st
oa:rrtee
our
ime.g1nst1on
from
the
horror
of
the
tomb
to
the
better
56
life
of
man. ·
when
~oh
love
as
tm.t
of
3u.liet
and
Romeo
will
be
public~
honored
and
ttemembered
by
a
gold
. 69 . . . . .
memorislo
over
tbe
grave
of
the
l,overs,
th~
b1tter
feud
batrvEH:\.~
the
Capnlets
and
the
r¥tontagues
ends
in
·ss . . . . ·
~eoonoi
liation.,.
·
''How
bee.utifu.l
ta
the
Clo
se•
1
•
says
Coleridge-.
"'The
spring
end
t
ha
winter
meet;•
,v1nter-
ssaumea
the
oharaotor
of
Spring
II
and
spring
the
sadness
of
54
B:radlEW •
A~
~~
g,uerterl,y;,
Ravia~
(April,
1906)
•
P•
350.
aa
qnoted
by
Ifu.rness,
Ho
ll6t
!
~
Vsr1orum
Edition
.2.!
ShakeSJ28&.ra~
XV,
Po
490.
55
Ibid
----·
.
.
6
6nowden
0
Edward,
Shsltesneara.
P•
110g
Kra~sz1g&.
F.
0
Vorlamm~an fl.barSl1..akespeare (1859)
0
Vol.
II'
P•
183,
aa·
quotou'
'6y-Fttl:"il88So
11.
1
R,i
.!
!!!
Variorum
Edition
.9!
Shakespeare,
I,
PPo
459•60e
57
. . .
Dowden,
Ed11?ard,
Shakeeneare
1
P•
110., _ .
0
8u:trioi,
Dr.
Hermann, Shnkepeara
1
s Drnmetio
Art.
p.,
396;
Xreyaztg~
F.,
Vorfesu.neI~n"ffllar
'sbnfeap'aai:E?
(
1859)
0
Vole
II,
Po
ta«.
es.
quoted
oy
Fu.mess.
R.,
B'.•t
A
New
Variorv.m
Edition
of
Shakespeare. I~ PP•
45RO
• - . '
_.
-
li'
V
'·.
·:
·
59,
v11nter."
··,
··
•if
The modem
au61moe
aoes
not
oe.:re'.for
the
long
reoapi
tulBt
ton
br
Friar
:rsurence • which
'301nea
at
·the
olose
<>f
Rpme_g,·,~~
..
4.
3uttet·.
·As
'far
as
they··
a:re
oon(HJl".Ded,,
the'·
.P1SU
eno.S
Wit~~·the
death
of
3uliet,
mtd
they
60
not
VJ1a~
to
hear
t~ld
what.,
ln°l~
alrt:teti1:
\lean·
Shown.
to
them
°tn
aotion.
68
Sbakespa'e.m.
B
1.mnieata.'te
auatenoe·.
b.,wtwe'r.
was
interested
·in
··a..
sto'i,,
·plar~·;
and
~o.
the·:·Frier
1
's:
na'rrat11re
pxobabj_y
did
not
bore'
tl1em.
61 '
';
. . .
. . . . .
'.
·.
nomeo:
~
tu1t.e,if
te··otten·
ortttc!sea
·
because
~ts:
'/
· • · ·
'.
· · · .
·.·
.. · ·
·.·.:
·· . ·
68
denoueman:t
.
is
brought
·about
b~
a
trifling
aoo
tdent
o
to
tragelcy'~·nothlng
OU8ht
to
b~·ieft
to·obet:108
end
every-thing
..
.
o"Qght
to
be
th!;
reEm..lt
of
the
action
of
t~e
itariou.a
·omraoters.
63
.,
·:at.it
!n
this
pley
the
int
el·
termmation
is
brought
a.bout ·at
last
by
wmt
1S
onlv
an
aaotdent
o
If
Friar
!Aurance
red
but
thought
ot
tile
device
of
the
potion
a
few
minutes
ae.rlier
0
before
I{omeo
parted
from
Juliet
in
~
.
'
.
~
,
the
oaU~
or
if
tha
le.tter
th3
Friar
sent
after
Romeo
to
j,.
<I, •
45
9aole:rUtge.
s.
T••
r.iaotures
W
lTotes
pn~
.shb.ks;eara.
P•
329.
f;O:Bakar
e,
G
~
P
~
~
The
: l)t,Velottnent
of
S1iakaspeal'8
as a
:ore.ms
tt
s·t.
-~·
•·
·2mr=~
.·
,
........
--
.,
·
.. ..
· ·
0:
~·
....
....
.. b 1
.h_sr,·.
JY
·:
,,,
,
61 . .
..
.
·•
..
Ib1d.t·
' ii
ios.
1\Jran~a
·ma.
only
not
miscarried,
then
Romeo
would have
known
that
Ju.llet
was
not
dead
but
sleeping~
'Re
would
not
h~·e
taken
the
:p~iaon.
and
Juliet
would not baw
tall:Eln
her l1f'8~
~
··
But
whatl'ar:
ive
~agree
with
lV!r·~
:Bradley
that
·th}
operation·
of
aoofilent
plays
a prominent
psrt
in
hum.s.n
e.f:ra.1rs
65
or.
'
. .'
'
\thathsr,
V18
say,
a.a
Mr.
Metth~rs
does,
tbs.t
,to urge'.
this~
is
'
'
to
oonfound
tha
rooitty
of
mture
viith
tlle
reality
ot
art,66
via
mast oonoada
that,.
1n.Sha.kespeare
1
aooiden:t·
ushally
·
iioes
:rio·t
ooou:i.~
ttntil
the
aotion
ts
well
advanced
end
the
impressi?~n
of
the
ce:u.'3al
sequellOe
·
ie
iD
o
fi~
f'ixed to
b.e
impai1-·eu.ur
In
!O.M!:)
1
0
~
Jttliet,
for
example~
wa
os\nnot .
help
feeling
tbet
the
fate
of
the
iovera
1 a
alread~t
•
see.~d/58 ...
If
Romeo
.had knovm abOtlt
the.
PQtion,·
something
else
ivou.ltl
"assuredly
have
bmught about
the
unavo:tae.ble
tragt:)dy
~
69 ·
Violent
delight
a could have
oni_v
a
Vidlent
~Jl!id. ;
.
66nradley
..
0
A~.
o••
Sookasnea.raexn
'I•rg.sedl•
11
•.
~6•.' .
66
,'
· . · . ·
·.
· .
Matthews,
Brander., A
Sttt~of
the
Drcima.,
p4
20lg ·
1aatthewa
0
n,:ranuaF,
s
0
Ttsnffl
~-
!:.
!,l~l!tright.~
'
p.
ll?
• .
. '
,.
. ' ' ' ' '
.·
. ' . ' ' ' ' '
67
Bradle;r
O
A• o
.!
,Sl1z£epJ,1e,a:reat\
•rre,ged:2;
6
h
15a
· ·
6flu1r1
ct.·
·Dr
o
Harmann
t
Shaksl1er;ire
1 s
Dramo.t
lo
.Art,
p.
587
g
· · · ·
'l'ieok.
DrsJnetur~tsofie
1
l3lM'cter
(':[S2rf;
VO,:.
I,
Pa
. .
,·
~56.
as
Q.uotod
ty n\1rness.
1
n.
n••.!
l'.!!t!
!~rto~
. Edijii.s,n
.2£
§.l~~Sf?$)2':t2•·
I,
Po
449
e .
·.·
·
·•
_
'.
69 · . · · . · · ·
,.
Matthevrn~ Brana
er,
A
stu/_!~
y
of
the
_···_Drst1a
..
P•
ro2. · · · ·
•
....
..
~----
,.
,11111
' '
.
e:na.
'
0,·
,,....".·.
&.MV/
f •
~
'
.
.
,.
.tln.other
reason
,.ti~il'.
tl'lS
obtru..
sicm
of.
aooident
in
Romeo
~
'
.ti
'/ll!WW
!t,P.tl.
J\tl5
..
et
ttoaa
~<rt
shook
.,u~.
or
even
.em:1oy
,1.s,
ltea
.ill.
·the
@Jiroitneas.
wtth
v1bl.cb
tbe.
d1~amatit:t bzmdlea
the
1noldento
SbakeepsQrs ·
aoea
tiot
ehow
1.1.s
t
ha
aotuol
interferen
cie
,v.1
th
the
.messenger
who
bea:rs
the
Frt.aa~•~
lette~
to
Romeo;·
h13
:
~-
.
'
.
:
~
'
merely
.te11s
ua
about
.1
t,,
.
lr~11t1
on.
the:
stage,
neri·sts:ve
ao
as
·.
:not
mei:e
as
rnnoh
lm11reeaion
ea
e.ot!ol'l•
Th.G
specrtato1~s
keep.
in
~!Ind
only
~at
thGY"
beve
'seen
with
thei.
r
,own
eyes
..
'11
In
' I
.,
''
'
Eltae.bethen
times,.
·of
oonrse,
t>Jl~.eat!ve
was
u.sed
a.
great
dea.1
on
·thtf
etege
1
nnd
no
doubt
be.ii.
e
onsitiereb
la
1:r..fluenoe
.
.~.
.
'
.
;:
-
.
,
upon
the
aullienoe.
On
tl10
other
m.na,
though,
,the
spaotetors
of
the
Renaii:me.noa
pmllmb]Jr
oa11ed
l~ttle
e~out
tile
matu1ar
J.n whtoh
tha
oatae·hrophe was
br~;ht
a.bout.
They-
were
interested
p:ri.marily
in
the
S1;ory •
Acolue1:d~
is
els~
0
in
a
meamtt-e, reaponetble
for
tll:J
outm
me
of.
!!it:g.
r~,e1'·o
.
Oor6
..
olta
·
v,ou.ld
not
· bsva boen
• ) .
_.....,,
I
Iii
oxeou.ted
1f
Eumuna.
had
baf:m
moved
a
l!ttle
earlier
to
re•
oall
hls
orue~
for
.
the
aeeth
ol
Cordelie
and
Leer•
72
Bu.t
0
,
...
..
Mr.
Bradl~·
says.
the
trcgto
oatastropha
of
this
11:tsy
ia
. . . ; '
...
'.
· ...
:·
·.·
.·~,,:u'····;
not
1.nev!table·
as
ta
that
of'
Romeo
ana
Julat
..
·
It
1s
a
---~--·--.
.
11
°iiiratth~a,
Bro.l/ldo~.
·
Sh€,!:!i;.~l?,G~
~
!
_P1e;ywrt~h~.
p.
116
~·
'~!atthavm,· ·
B:t1ant1er,
Ji..·
stm\v
o·t
the·
'D1~,r11a
O
p.
202;
··
·.
·
.~·
·
..
· ·
. itatt.hewa,
Brt.uiaer;*}rfi:.~n"oFo
~jf
Jr:~;b~tt8.f1,~,oP•
..
116.
7
2ilratth8Ws~·
~~~~ ~
.~~J;e;ee,,tt
~
!.
PlfltVWl'~ltl;._P•
281.
73
Brsd1ey•
A,.
0
1
.t
Shakespearean ~rae;ed~r,
Po
252~
SUdd8:n
blO\V
01.tt
of
the
darkness,
Wh1oh
str1keS
down
our.
rev1v1ng.~..opes
for
the
v:totims
of·
ao
much
oru.el·ty.
74
108.,
surely,·
lfro
:Bradles7
con
tintto~t
the
tra.g1a
emoti.ons hsve been
&1nffio1ont1y·
stirrac
already.
Sitrely
tl1a
tmgi.ct'
Ot"~tocma;,of
Leer'
se1"'ror end h:ts da:ugln;ers~ ·
1nart:rt1 tu.de
lna
been
me.as
oloor
·Ellough
end.
moving enouglf.,
Wby
o6uld
Lea~
wt:
spend
tha
brief
rem.a.ind.er
of
his
l\nys
tn
peace
end
repp:t:aess
by
Oot-delia' s
fi!1aaide?'
5 ·
:·:
. -
,,.
-
·
To
Mr.
Stilllegel
and
M!sa Woodbridge°'·
I10waver •.
the
o
l1nwx
o·:r
~'pity
er.tit :f(:mr",
ta,
in
the
.
sieht
of
the
met1"
Laar.
with- ·the
strength
of
a
as-pair
O
o~r1l'ing
in
his
1
~poo
r
too1
11
to
allOw
to
ell
man.1
76
Tba tsi'.lafon
b:Jnks
rutf!
ha
diel:1
6
mlt
.
'
his
death
tea
raleese.
-
It·
ts
a
fit~
r~gl.it, c~a n~oesser,
aom:ploment
.to
his
11:ZG•
:aa
Schlegel
says~
.tear
cen
6n1t
dto •
c.na.
wln't
mora
trti4'
t:regto
·
encl'
for:
him
tl-en
to
die
f'rom g1,1of
for
the
c1oeth
of
Cordelie?7
7 ·
··
,.
· '
: Tha d.if:?1ou1ty
l1ea
0
of
oouraa,
itl
·bho
at·tempt
to
ratiowilizo
01•
to
npp:ey
oth!oat
,prinot1'lles
·to
tbs
fo.ta·of
the
various
o:tamote:rs
in
K:t.m
Lea1.,.78
Lear
ond G1oator:
Yj1J;
Il1HL,,
po
271.,
75
11~.iA••
PP•
262-2530
75
woodbrit\~e, _
Elteabeth,
T)W.
Dramat
Pl{)•
89•90.~.
77
sohlegbll.
~~
u&
•
.Ii201Ni·~ia
2.n.
D~?.ti.!!.
&.t1i.
~.
Liter~~...!•
p,,
..
15.
• • , . . , ,
..
'
I • '
''
,a
~!Bb!e
cs
Ho
W •~
Wil;JJ,.~~>
.§.he~,GE!l?~J.~t!!,
p •
.267.o
.
9
.•
BU.<Ultttnb
to
an. end
,,hich
ts
~lout
of
proportion
to
their
delln~uentH.es
o
And
Oordelia • }'8rt1ou.larly
O
does
not
merit.
dee.the.
It
1
a
trtte
that
at
the
beginning
Oo:rd.elis
does not
stand
npon
thst
height
ot
pure
love
and
devotion.
of
self•
oontrol
·
e.na.
ealt•denta.10
to which
ehe
_subsequently
rt
sas,'9
but
he:t' "most
Bnell
fault~
uoes
mt
deserve
pu.ni.sl:ment
b:,
~80
axeeutlon.
liotwi
thstenlUng
this
faot,
however• sane aommenta.tors
feel
that
there
must
be
justice
in
Oordalta.'
a·
death
or
she
.
.
would
not
be
1n.irolved
1a
the
ru.1n
of
Lear.
81 They
ingeniously suggest, the:refore,
th!rt
Cordelia,
!n
her
effort
to
save
her
father•
invade~
England•
s.nd
this
breaah
of
patriotism
needs
atonement~
att
the whole
notion
of
a
sm ·
.
against
patrs.otian
1s
foreign
to
Kim
Lee~r
itself.,
The
tra.est
patrtots,
Kant
and
Gloucester.
are
seoret~
con•
federate
with
OorB.ella
exid
1oolt upon
her
sa
the
hope ot
their
u.nhapp;v
oou.ntxw.
EVen
Alba~.
who
tmp
it
nacessa1'}'
to
repel.
the
invader,
foals
that
juatloe
is
on
the
side
of
Cordelia
•
82
Still
other
or1tios
do
not
seek
a aor1s1a.eration
of
justice·
1n Cort1elia.
1
a
death
0
but
eire
plainly
dissatisfied
79
Ulrioi
, .
Dr~-.
li?~nn
1
1
~beks;eeare • s
Dremr:,t
to
~.
po
~46.
80Jtrou.l~cu1tt
R•
G.,.
~haltaspeal!.
as!!
Drtmm.tic £\r;J;Jat. p-.257.
81Ib1d.
--~
82
Ibido
.....
110
..
,.
with
her
fata.·
Dre
Johnson,
1.tiho
liked
to
sea
·parseou.tea·
vtrtna
trinmph
83
at
the
clo
oo
~of
e pla:v
,:
\VSS
in
fa.vor
Qf
· · ..
l~alnun
Tata•
e
version
of
Jrf
ri(i
~t
·
1:n
·w11!Qh
Edgar
mk.es ·
love
to
Oortlelia.
and
abe
retiree
in
the
end "iv1tl1
v1otoey·
end ·
..
fel1e:tty"
•
84
.
~.
But~
in
my opin!on.·
th~
p
ley
loses
iwJ.t
of
l
t.a
beauty
v11
tl1
this
:·s~rt
of
a a
losing
.ea
Whet
satisfies
us
and
brillga
us
·
strength
md o
aaefolati
on
1
s
no.t
t~t
by
happy
concurrence
of
oirettmatarioes ·cordelin
shou.14
$Caeea
in
her
.
..
enterprise,
bttt
·me~o11
·tmt
oor«e11e· extstaa.-.
86 The
earth
is
ma.~e
more besutU.\11 fot')
us
by
her
life
e.nd
.bw
Mr
a.oe.th_,81
And
0
f1l12lly
,,
v~rttte
snd
tnnooenoe
ere
11ot
·e.
lwaye
hap::-;y
and
su.ooessfu.1•
l?er~ps,
as.·1.ddi
son Stlggast-a,
the
guiltless
rmist
die
if
tho
tragedy
is
.to
erottaa
in
us
the
..
.
,
proper
oomtseration
'end
·~0r1"0:r.
88 .Perhaps
Mr.
Bradley
is
:right
ln
feeling
tmt
,,ou:r
tragic
en»tions
era
elraacly
aroused
sa.f"ttoiently
:before
Oorue11e
ts
he.nged
•89 Bnt
,,
be
83
Dr.
Johnson,
as
quoted
by
l!'u.rness
6
Ho
n
••
! !!!L
Veriornm
·
!fil.t!oJ:g.
g,!. ~hakesna.sre, V •
p.
419 •
~owe!.
Etl •
Edwa.%.'d
II
Slwk;
EII?eal:)'3
•
1i.
203.
.
.
.
85
wtiiter,.
Wtlliem,
Slw.keSpaa:rie
D:i;I,
the.
St~8
•
VO]..,
:tt,p,.
5'11,.
86:tJC)wd?ll~
Ed~ard. ,shakeweBr~.
P~
202.
' · ·
svib1d
··'.
1'WPII
;
0
88
..
0
Winter,.
Wi~i~~
Shsk~snsare
~
~
st,a~~.
Vo~.
II.p.,
571.
89·. . . . ,
Bradley.
A.
a
••
Sha~~spaerean 'l
1
re.ge~.
Po
~52.
that:
eij
it.
m~,
go~d e.~a
ev;i
happen al.Ute
to
e.11
men
on
this
stae.
of
tlla
gmveo
9
~.
The
-l'ela~101:1
between the:
oi1twara.
pnnisbment:end
~ha.
hlwe~rd.
sin
1s,
___
in
t!'t'.th,
aba_olute~
1noommenatrablo •
91
;The
(!ataetrophe
of
JCi~
,~e~ex:,
requires
no
further
o anmmt,
except
to
point
out
.
that
!n
the
fine.1
.e.ot,
whm:i
-:we
'
;
.
are
e!".ger
to.
follow
the
tat~
of
Lear
himse1:r.
our
attention
1s
dlatraoted
'b:v
.the
pt'Qlone;ed,
episode
of
the
o'.hellenga end
. ' » .
6:itel
ot
Edgar
and
EdmuJ'ld
•
92 ·
This
incident
Deems
even·
'
;
.
'
.
.
.·'
.
. .
' '
longer
in
.retroepaot.beosiiee upon
-!ts
outo_ane
depends
.
-;.
-·
Ecm,,
...
nd
1
S
ocunter
order
to
the
captain
v,ho
kills
oordelta..
'
,•'
.
'
.'
. .
''
his.
6.esertred pleae
of
rest.
etid.
w1th
Albsn;v
and
I11dgar.
'.
·~
~·
.
planning: to take over
the
sover:runa1t
of
the
state.,
. ,
.·
,·
r,
-:,
,
·'
. , .
?
. ,
!n
atreot
oontrest.to
the
rspidlty
with
.111hich
every•
.
.
'·
''\
.
'
.
'
thing.
!n
Meobath.
e...ua.
otha1lo .
leads
t~
the
cs.tast1'lphe
.1
s ·
.·
· .
~·
nr·Mzlst,
.• ncrt, .
•••
sr
• •
r•
-r•
.-~
,
"'
· , · · , ·
tlle:
e~w
,movom~t
,,of
Hemlet~
In
the.
last
eoenee,
the
metn
eetton~
tm.t
-la,
t.he ~atton
of
ftD.mlet,
ste:mla
~t1ll
or.
appears
to
:retrograae.
93
J\.ftor Hamlet
fails
to
ltill
the
Xine;·
while
lla.
1s
e·t
p1~,.y(;)r,
H;·
is·
·the
Ktng
who
takes
the
~i
• • -•
..
..
9
3u1r10!~
Dr
•.
He~m~
..
She~k~esr~~~
~tio
!ti~'
p.·
439;/i
92
··
'.
. .
..
..
,',
..
·.. , . · ·
.....
"
Matt~ewst
Erandar
0
She.lts;pere,
ea
!,.
?lal\1rieht,
P•
'281<)
93sohleg~1,
A.
w••
r,actur2,
sz.a
Dram:,t1o
~
!Wil
·
Litsret1ire
1
p •
iloi
O·· · 1
'·
'
.
II
'
'"
' I
Offensive
Side
Of
th·e. CO~fl!ct
nnd
llamiet
Wl:o
takes.
the
·a.efans!ve •
After.
Hamlet
mtstakas·
·Poion1us
fo:r:
the:
i1rig
~
Claudius
.·senns
him
to.
-land t;i.th.
Roaenoranta
and
..
Guil6.e11aternt
Who
bear
commands
for
hi.a
dee.th.
·Ana
v1hen
ftamlet
aco1dent~lly
retlJ.rner
to·
Deninark.
th!J
King
ms·
·a.
lreadJ
·parstteclEld
J:aertes
to:
..
enga{te
Ham.let.
in
Q
:·ifuEJl:
and
112.-;
. to'
US8,
m
unbuttoned
itnl
poieone
d
fo 1lt>
And,.
t1nal~,
:the
unexpected.
solution
ot
the
oom:pltoatlon
ta
ocoastoned
more
.
'
. . .
.
by
·aooide:nt
..
than·ey
the
iremeditat~d
action
of
..
Ham1ete
If
Hamlet
ina
not·
got'
1»ssassion
of
the
poisoned.
weapon
ana
woMdaa
L'3a:t"f:as
wt
th
tt.
:r.ae:i:tes
~ottld
not
ha.~e
00l1fass~d
.
the
King's
pe'.rt
in
tha
p~ot.
end ilemlet p:robeblii-
w~ld
.
·,'
'
not
iE.ve
killed
Olaudiusc.-
The hes1tattDS
movement
of
'Ramlet
ta
inevtta'ble~
';
• • • , • · , • . • . I • • • •
<
.,
• ; '
94
ho'Wever, ·
It
lies
·1n
the
ver.YJneture
of
the·
aubjaat
and.is
' !
I •
the
veey·
oharaotar
of
liamlat
himself~,. The drsm?.tl
st•
s
purpose
is'to
show
that
a
oalmtlatiui
oons1derat1on.
whiob
exhausts
all
the
rale.t1one
mla
p.osaible
'oonsequ.ances:ot
a
· · · · ·95·
deed,_ mu.st
neoesser1ly
cripple
the
power
of
eating.
Shait,as:peere might
have
~de.
Hamlet
ptirsua
bis
vengeance
<'
•'
with
a-
steady
a.atorminstion.
Hom.let
ts
not
i:v:anting
in
• • ''• ' • ' > ' ' •
,,
' '
t1111.
nna
oertatn:ty
11ot
tn
strength,
as
hls
th~st
e.t
.
~
'
'·
-
.,.
Polonius.
hie
f~ght
with
Iaertes,
and
l11S
eol1lo·quies
'
~
't
t\ '
c
u'
.
94~'h~d
d,.u.t..
•
---.
95
n,td
..,.
w:;,o
aho~:.
96
13ut
· it·
tlw
ar~nw.t
ir;t
11.aa
1ed him
tl1ro11gh
· cli.f:tici1.1t1~s
arising
from
aooidental
oe.ttaas# ana.
not
trom
the
doubts
e.n,1
hasltetion
of
hi.e
Oiim
mind,. the:
.anxiety
of
t1'..e
·
ep~atstor
\vo11.ld
have
been
for·
the event elld
ni>~h
£or
the
. .
9'1
.
person.
.Ana
tlw tna.asoribsble
<therm
·1:n
Hemlet
lies
in
1
see1ns s
men.
V1l10
bt
other·
otrou.mstences would have
·.
· ·
''' '
exerot
sad
all
tho
moral.
and.
soa1a1
vtrutea.
p~oad
in
i
s1t11a.t1011
in
whiob
er:an
the
emlable
quallt1ea
of
his
mind·
ee:rva
put
·oo
egg:eavete
111a
M
s>cresa
and to per1:>lex
lits
.
eontlttot.98 ·
It
!a
beside
the
pu~ose
.of
this
atuey,
of
~urss
0
to
ettempt
a:
full
er,t>1anat1on
of
Remlet' s aha11aoter.
Bu.t
some
ansv1er
must
'be
mstde
to
thosa
wl10
feel
that
llamlet•s revenge ·
shou.lil
:11ot
be
obtained.
e
..
t
the
exper.u.!i&
of
his
own
ltfe
•99
!n
the
fi.,rst
pleoe.
F..emlet
a.oos
not
kllO\V
ho,1
ha
·sba.ll
.. -
..
justify
tlie
·m~der
of
hie
'\U1ole
to
th.a.
wo:rla..
Row
ls
:1ia
''
........
,.*!
t,,1•1
t.¢
IOI
••••
··114
...
. . .
0,
to
vinlU.oate
himself
from
·the
very
crime
of
wllioh he
muatc
100
eoouse
another?
· Sinoe
b9
oe..nnot·
subpoena
tha
g..'1.ost~·
..
th9
ev!dsnoa
on
,vhioh
ho
is
to
~ot
1a
avatlebla
oniy
in
the
o·Q.trt
of
h1s
om
oonso1anca~
16
l
And
to
sortre
any
good
end.
the
deed
nut.at
stand
in
the
publ!o
eye
as 1
t do
ea
1n
'
.
hie
mm
o
Otherwise.
the
on,wn
will
seem
to
be
t~
real
motive
for
the
murder
and
his
duty
bttt
a pretenoee
102
Hamlat'a
understa.nding,
then.
seems
to
be
aonvincedo
IIe tlli.nke
be
011.ght
to
do
the
thi~,
resolv~s
tlJG.t
l1e
w1ll
do
it,
end
blames
himself
f'or
not
doing
ito
Bo.t
an
i1.n•
s:poken law, dea:psr anil
stronger
t1'..e.n
oonvlotion~
w1thhola.s
· 103
htm.
And,
naturally
enoush.
the
same
strength
of
consoienoe
vihioh
lceeps htm
front
killing
the
Ki~.,
also
kee11e
him
from
abanaon!ng
the
ptirposa
entire~.
Oonsoienoe
urges
him
different
ways, and
whichever
way
he te.kea
he
1s
still
li_nttnted
by
the
feeling
that
he
ought
to
~ve
taken
104 /
tha
other.
Death,
than.
is
the
on~
denouement v1hioh
fits
his
oharaotar.
Death
delivers
him
from
all
tm•·
oarteintyo
Had
ha
survived
his
mother
end
unole
be
'~
··,
'
·•
..
·106
probabiy-v1ou1a.
hr..r~
·1c1noa
hbnsalf
o
The·
oataatropba
of
PJlmlet
ts
e-~bjaot to
t11•1
tic1sn,
l1011ev(;Jr•
in
tliat
i.:t
in;trouuoes t~i10
n~w
ohai~ctto~.; orsiG
.·
..
·.
.. •
3.06
.
.·
•
....
· .
·.
.
..
.
snd
Fo1~t1:n1>res,
vva
a.o
:a.ot
a·von
heat"
of
orsio be£ot
4
G,
115·.
end:ttve
}m.v(!)
little
aoii1re
to
me~t
hlm
now. An~·oru)
of
tho
ioras
mtght~ll-
Ramleif tlia.t·
the
·nng ·
ho.a
maae
a
vvaser·
w1
th
r.aei'tGs
'e~ou
t
FJ=1nttet'
ss
ltl.11
w1thtlro ro.plar.
\Ve
do
:ba.va
a glimpse
of
FortinbratJ
tiGsr
t11.e
olooo
of
ao~t
fottt,
·
and
vi.re
oan
to:terata
him
beoau.sa
Horatio
nnt$t l~ve
someone
. · ...... · .
·.'.
·
....
·
.....
·
..
·
·101
to
listen
to
him
at
the
encl
of
l~-
lot·.
·
....·
.....
·...
.'..·..
..
. .
.·.
.
..
.... ... .:"10s
The oonulu..sion
of
tbapiaz,
is
rather·
olumr.tr• t11ough.
After·
Hamlet•
s death~ \vliat
do
~ ~
o,tre
for
no
sancirant·a
end
Gttildansts~nt;l
or
tor
FJllgl.tSh
aa1bassedo~s?
'
01'
for
Fo:rttnb·taa? 1
What
is
the success
ton
of
the
th1"one
of
·
··
,·
.'
'
:Oanmn1
..
k'
to·
us?
wo
have. concerned
0ttrs01v•e's
only w1th
I<
liemlet.
And
with
hie
O.arith
ou.r
interest
is
e.t
·au.
:enct,
.
.
mt1rei,
·et en ond,
We
do
?10t
went
to
know
attvthtng
. .
108:ne:n_adt~,
Dr. Roder1ok, D1e
,~halces1)eeroman~e
(1873),
P•
·
..
2'14
0
as
quoted
by
L\1rnasa,. flo·i1,.t,
it~
Var1orum
Edition
of
Shakespeare,
IV
1
P•
3~
109 .
..
. , .
t16re
·o
·
Jno
iumitel.ly;
·:these f'ino.I
.details
a:r~a
uSuall.y
omt·ttoil
·
from
moda1-u··
pi>ea~11ts.~ti.011s
of·.
·clo
'play.
,:
Bti:b
·
in
.
..
.
Sllnkee1ware· {lonoln.dos
t:'l?l
oi.:r0rp.,v1ertng·
tregeey·
v1itl1/tha
I
pro
O".PO
ot
of
a:
DOOi
811d
·
batter
stat:t~f
of
thirg
S
Which··
ri
S8tJ'
·
u1r
on:t
·of:
au.f±'eirlng.
1~n
0'
ana
·dest11.1
l.O
.,
..
•
0
•
Ana.
11ot1
we
tum
to
·tho
le.st ·or·
S11Al:eapsaro•s,
..
t1•ageates•
Othello..
lit
th!t1
a~a,
eve,::; word
end
ovecy
turn ·of
the·
reprosentation
mltos
sn 1inPQrte1.1t·
advat1ae in-·
·t11e
o
m1.rsE!'
of
the
aotion.lll
F~rn
.or.o~·it
sida
v10
eae
but
tl1e
cno
·go~~l;
everything
glldear
on
in
o.
ni~turol,
flbtJ1
'to .
tlic
·
tragic·
cs:tastropha:
112 Tha
tlu~oac1s
·
by
wl1ioll
Othello
eua
Deaiianona
might
be ~vetr
are·
r1o·t
oovered.
until
the·
ve1~y
inst
morrumt
~
113
and
yfrt
tl·3.01--a
i
e ,no·
fo:roirug
or
t11s•,
•·
·tu.rbe.1110
e.
Ana
tho
deaoent, from
the
summi:t
of
the
trasio
eot1o:n ~is
just·
as
rapid
an.a
natural
as
·the
seoezr,; ~
114,
109
lb_!sf.
e
110
u1.r1
Ci•.
:o~.,
narm:u,m.
§.!~lS.~.ll~!rJ!~
~~a;t.1~.
!!:!le
:P
~
503
~
ll:fu1r101,Dr.
Herrtl81'ltl·•
..
Sh~lteanaar~•
a"
dram.r~ttsoh~ ··Kunst .
·
.(1847)
l)&
379
~
as
·qi1.ota,acr
'6y-Furnesa.
y;="H.;
!
?fet'J,
- · -~r1oru.Tf)
Edition
of' Sha.l:~sneara.
YI"
l)&
45Ge
·
112
Ib1de
.
Tha't1Jay
bftJl110h'
Othall<.:>
is
uriuecijivea. and
teitf
ts·
t~
illSSkea.''
rind
brought'
to:
(Y°On£ceaiotl'
:ts
tl-maatel1)ieoe o:t:
.
·:
.
·..
. · . ·115. . ,
...
«mnt:Vtio·
aevelo1nan:t.:o·!
.
Somii
ortctos
fQel· ·thl"h
tha
·cetastroph<f
of
:o·hhel1o.
aoaa
no;t
a.rise
cJi
1•aat~·
bu:b
·01t tlia
n1oa.e
of
eotion
of;
the
..
l1aro·o1
1S
:It·
is.
tru~;
tia
t
tl1e
deoe:i:t
1s.
so
ettmi1ngly
devised,
so
tavotted.
b;y
-01rcumSfalnceS ·tliat;
even·
tho· most bau.tiou~
elld
most
(d.i10tJJtU3P®t
peraoi1
v1ould
lnvo"
beeif
deceived:
ny·
:t~t.:ll!
1
Bat
Othello
is
wabl'O"
~co
hold
ltl
~f
o
w.n
agei11st
blind·
ol1ht\'l
e
attct°
eontnon·
in·t:t?iei.te because:· bi'a
powel~
Of
doing
good
ts·
i:nsu::f.fiQ
tent
~
lM
T~
oa
t~1r!:ri)phe
m~
bf.I
f:l.rat
!nt:t'OO.t1tled
. . '
,,
..
, .
,',
. .
·.
' . ' ' . .
1'19
. . '
.·
. . . .
.•
' . . . .
,,
and ocoss10:t1ed
bU
ohanoe
···end
the
domoniso power o:l ·!ago
m.ar
drivE>
;Othello
to·'
the
fatel
a<rh~
120
but
the
~ate.strophe
.·121
finds
..
!ts
naoe'asity
1n
the
nat11ra
of
Othello•
· · ··
w~·
1eav9 <Hil'lallo'
f~oltng
·e.n
abs.sea,··
paeetve•
hopeless
weight.·
so.oh
as
no
other
of
the
Shs.lc~spaareen
trsgeuies
..
· . · . .
~
l2
2 .
proauoea.
~
The
source
·o~
thls
ftes.
I
think.
in
the
manner
of
Othello's
a.eetho
·
The
affeot
of
Desdemona•
s
tottchtng
death-scene
ls
ak1lfnlly
softened
end
kept
in
.
'.
.
·.
·
..
'·
. .
.,
. . . · . · . . · . :
..
:
..
·12'-'l
etriot.
subomimt1on
to
the
oataetrophe whioh follov1s·.
"'
'
~
(
'
'
.
'
..
But
~o
.
e..fter
scene
a11evte.tas
tl1a
gloom
which
'su.rrounas
i'
the.
auU,tde
of
Othello
a.
1
'The
objeot
[whtoh]
potmns
Sight"'.
ts.
hid
from
·us
only
'by
the
dropping
Of
tha
curtain,
end
the
Moor
bas
soa.roel,v
expired
when.
the
dJ.'al]J!l.
olo~~s)
24
•I.
•
119.
·
CRAPTTJR
IV
Co?:rC
LUS!
Ol:r
Having ex£milled
the
ostast,x,phe
of
eaoh
oomeay
and
tragedy
separate~
•.
we
are
notv
in
a
p,s!tion
·to
make
mme
SUl11mar:v
remarks
about
the
manner
in
which Shaltespeare
olos"s
ht
S
'P
J..e)1S
0
As
we
ha.ve
seen,
She.kespeare seems
t~
lmve
no
one
method
of
brtng1ng
hts
oomsdtGs
to
a.n
endo
Bllt
there.are
.,,,
reaemblanOE3S
1n
deta11S
between
the
denouements
of
the
different
1>la1s1
and,.
malting
au.e
ellcwe.noe
tor
overlapping.
in
our
olaes1fioa~ion~
w~
onn
group
the
oomecU.es
e.ocording
to
type
ot
ending
o
The end1l\€;s
of
the
two
faroical
~omedtaa,.
~-
Oomec1;cz.
of
Erro1->0
and
~ ~
Tami,V£
of
:the Shrew, e.re
reallF
aomirabljr
managed
and a.re
tree
from
8.l11
ob3
action
on
the
so
ore
of
o.onvent
tonal!
t1"
•
In.
Shakespeare• s
thi:ru
fsraa
•
~
~ier:SZ,
;n.vesi
2!
W!ndmr
0
·,e.na.
in
Twe
. h
lii~h;t,
the
interest
at.
the
_vera-
olosa.
o:f
the
action
oente~s about
the
ohareotsre
ot
the
SUb•plot.
:rn
A
!~tasu.mm;er
Etsht•
s
·
Dream.
and
still
more
in
The
itorchant
of
Ven1oe
..
the
.........
~.......-------'fl/
catastrophe
i e o1es.r1~
antt-c11maotio
•
Almost
a1l
of
Sh8J..tespaare•
sotl1er oomed1es canbe
grouped
under one bsa.d
as
far
as
ae.tastxophe
is
oonoernea..
:tn
geneml,
the1"
are
the
plays
in which
the
oo:r.olus!on
does
not
sean
to
grow
out
of
or
to
be
the
di~eot
result
of
.•.
what
has
praoedeu.
In
some
of
,these
oomedies.
the
-~~o·.
1nconsiatenoy
of
ohsraoter
or
other
inoongru.1t1'
is
not
so
oonspiouous because
of
tho
light
tone
of
the
wbole
pieoe
o
To
this
group
belong
;tpve• s
Lsbour•
s
TD
st.
As
!2!1.
L1k,2
rt,.
.;.-M...,u.,.ch.·
Ad.:o.
Ab":!
t
Nothing
..
end.
The·
Tv10
·Gentlemal ·
of
Ver.o.na,
-
-..-..
~..
ill,!'
------
·~
In
the
rem.sining
plays~
on
the
other
hcnd,
the
so•cs11ed
"llBP'PY
end1:ngn
ts
not
in
ecmora
w1th
~the
rather
t:t•agio:
nature
of
;,the
oharsoters
~r
wtth
the
einoer1tr and
sertousnesa·
of
the
action.
·The
<H.mellt
es which belong to
this
o~ss
are
All's
W~ll
~
End.er
We11
1
,<itee.si1:ra·.
£or
!Ii,aa
~~·;
rm.a.
0;2J!lb
eltne
'*
For
lack
of
a
better
p1e.oe
in
wh!oh
to
discuss·
the··
other
three
oomedt
es
..
of ShAlteepee.re •
we
treat
the1n
:
w1
th·
the
pleys.
last
mentioned~
Th~
denouement
of
each
Of
these
ple~a
6·
ta
uniqu.a, h:nvever#
tn
Troilus
~·
O~oesicl"!.-:
...
ne1thar
of
~the
plo.ts
tel1111na·tes
coirnlt1.sl.vo1y. :T.~. Winter·•s
Ta.ls
seems
to
oon
etst
.of
ti;o
aorriplete
play~,
tbs
fix-st·
of
vibioh
is
ew
trBeedy
e.na
the
saoo11d
a
oom.ady.
A~tl
ell
fi
V8
nots
of.
!J:.ha
.
Te1n12e~
ere
an ·
expended.
denouement•
1
on·the
whole,
f..t·
m.:t1'
be
said
that
Shakespeare bringer
ebont
tho.
catastrophe
..
of
hts
oomeiU.es
direot~v
~a.
rav.t~.41.
and
ahlv1s
much
o()nipreasfon
at
tm
eloae.
But
•
there·
are
exoeptions
· to
tl1!a
·s
tetancmt o
This
1 s
man1teatly
~
.
not
Shakespeare• e manner
of
olos1ng·
the
two
m:iti•clime.otio
plays.~!
!iU.o.so.mner.
IU6ht'
s
l)reem.
e.nd
Tl1e
lrterobrmt
of
teni~e.
Neither
is
this.llls
method 1~·f-1l;'~,·Wel1
that
Ends
Well,·
whez;e
the
raoonatlie.ti.on
between·
Helene·
·and
l3ertram
. .
is
a.ele7etl
bf
a oompltoetad.
eertea
of
trioks
and
m1StU1der•
.
<Ii
stanat:ogs.
i-'..nd
~
ombelin~.
-~Winter's~.
e.t1d
Tbs
tempes.~:.
the pleus
1n
whiCh
Shakespeare
shows
the
tnfl.uenOe
of
:aea:umon·t'
sna Flatohet'
~o·et·,
the
dramatist mu1ttp~es ·
• I /
''
•·
''I
' '
,.
effaot1ve
situations
for
the
mere sa:ke
.Qf
'postr,onblg·
end.
htd.ghtening
the
happf
ending.
It
nm.st
ba
said,.
however.
·
.·
tbst
the
t1Xla1 untying
of
th~
ii.:tamauo
knots
1s
e.ooompli
ehi'id
with
both
skt11 end
oeler!ty.
•.) f:<r-
·,
l •
Although
vie
liettalfy
leave
a
Shakes~sresn
<romelty
with .
the'
teei1ng
that
the
action'i
e oomplete,
thta
1 a
not
always
'". . .
t~e
•
_lll
Trotlus
~nf\,.
o?
....
ess14.a.t,
notbtng
1 a
oonoiuaaa..
ana
· ......
·,
...
·
..
·
..
_;
:_
. ' i
·)
\ : . . . •
..
· . . .
in
.L:>ve•s
!e.bottr's
J:Dst 1
the
aenouement
is
postponed
for
a
~-
.,
. ... ... . .
1~sr.
~n
TVJeltth
!tlftht.
anil
T l[e
l'nnt
2!.
Venice,
the
'
'I
't •
ao.tt
on
aontlnuee
i.
even
aft~r
the
curtain
go
es
.
down
• 'Malvolto
.'
· ·
ls
d:111
to
ba
entreated
to paaoe
and
Po~tta
ts
to· ·••answer·
.'
..
...
. .
sba1resp,sn1 almost
al.ways
ieavea
some·
1oose ands
in
)(
h1s
oomaru.es~
we
never ieaffl
~Mt
beoomaa
ot
S1;v
in~¥,
'.Mam
yttve*~'
of. Windsor nor.
do
we
ever hear
of
tl_:.e
..
·
retaliation
promised
to
mine
host
of
the
...
Garter~ .
·we
ab.all
-~ever i~ern
~w
lYLa
rgaret
lil:lppenea
'to
be
weartrg
Hero•
e
..
olothes,
v1hen
:Bors.ohio says
that
she knew
nothing
of
Don
3o'.lm
• a
vf.11a1n;v~
It
ts
~o
t
:l.'or
us
to
know
wb.v
I£>
renzo
'.
.
spealis
Of'
a herird.t
return
tng
to
l3$lmon~
wi.th :eo1't1a.
when
·wE1l18'Ver
see
or
hear
of
him afterwards-.
And
Mrs.
Quickly·:
.
..
and Autol;vous
ara
onl;r
two
of
Shakespeare's
characters
~vho
..
drop
out
bafore
the
ent1
of
the_
pley
18
~aaohed.
Two
of
the
ltghter
o
on10a.1a
s,
!ova•
s.
~b
..
m.1r'.s
JtJst.
end
..
.
, \
..
'
~-
.
'
.
"
.
.
.
..
"
'
.,
.
.
.
~.we~tJ.:;
Eigh!,~
010.
se
t11
th
.
o
l!
tJa1e
song
,r
w.htoh.
ts
not.
vecy
lmpox,to.nt
but
\tihioh
el1ita'os
to
th~
general'.
eigrl1fioanoe
-of
..
'
the
.whole
pieoee
In
both
plays
the
song
is
sung
bt
oharaoters
of
the
snb•plot
•..
Ot'.bsra
of'
the'
ooma.ies·
...
either'
'
.
'
'.
.
.
end
with
en
ent
ertsi
nmant
by
a1nateura
or
else
nake
µae.
of
...
.
.
.
"'
snoh a parforma.noe
nt-1a.r·
the
~lose•
·
Itt'
!
Mld.SUlrul'lS~
·
JU,6h
t •
s,
Dream .
tllere
is
tho
1,:rosen
ta.t1on of:
1
'P9re111u.a
antl. ~!hiaben
by
tl,a
l:tts·tioa,
1n
.t4.~'!!
Ieb9,;a~~.!..
~S.flil
t~
ebara.fJteX-E:l
of.
the.
mtb•:plot
give
"The
lH.ne_
·worthl~s,,1t
end
ill
rr~e
..
~:t:}Z·W~Ve!!
g!
YTJ~~so,r,
there
is
th~
u.roll
·tei.17
aanoa. Ne1t11er:
of
.
' '
.
.
'
',·
'
·.
'
.
the
~iret
two
representations
1,
s
an
integral
part
of the
. • . . '
",
'',,
.'
,I
action.
but.
the
entartatmuent
in
~t11e
~st
pl~r
sffordo
.tbs
,,
'
.
'
\.
.
·,
.'
'
op1>01~1ity
!or
the
aolutto:n
o~
both
·tll~j maln plot. and
..
the
Slib•plot.As
'J.O'Jl.
·'r.tke
It',
~
~ernj'?eSt.
antt'
Trof1i1s'
end
C~estd
..
da
·all_.olo
se. wit:h.
·au
e~tlogu~
•. which
1·a
hsrlll;r
mo·xe
':-.
oomed1ee
ia
to
be a1:r'eotad'
at
'tl1a
··ettddan.
·conversions ana
...
' '
..
'
it-
' \
llnat3T
ma~i8ges
of
the.
rogtaes·
·aud
:Vill.Qh'lD
•·.
Tll.e·
transtor•
.mation
;of
the
(thief
W1'Jng•tloers
ia:
.in
lteelf
impossible , .
I . . , '
or
else
·
S~'3keapeare
fails
to
11Bke
1
t·
aramat
ieall'y
·
'
..
.
.~
plauaibleo·
·
The
aat
of
':tomivenesa
1 s
also
either.
bnmanly
.
;
unbaltevabl~ •
or
el
ea
. 1
t
seams
so
.
beoa.use
Of
the. haste_ ,
.
,,
II
~ ~
• " •
•
fcrrgiveneas,
.e.na.
the
restoffJ/c1on
cf
good wt.ll between
tlle
b13ttrt'JcJ.
ana
tn311mr.
mi,st,be•
1m.
t.he.nstttl'e of. thi?Jgs,.
a.
slow
pro
cesso
..
And,
..
finalJ.W
1
::
the
.matr!mon5.a1i
end!~,·
;·s ·
of·t~
not
1n
co1rison~ca
1r.vi
t·h tl-c
cli""""l:rta~te1r$1tatton
•
~u.t
'.
f.e
.
mere~
e~
oonvQntlon.
\ ,
:)
;
· ~he
mtHl·h
s.!ltiSfe(t·to17
explanation
of
tl:tJJ
mei1ner
in
v1hiob
s11s1:1ispeara
elosee.
his
pJ..eys
seema
to
lie
in
th~ .
' ' -. '. .
''
. ( '..
..
l!O/~u.ra
ot:
ht
sauaie:nce • ,
!!J!ie
Rer.ta~s001,oa
Sp$trtsto1~a
v1a:re:
tll>\'larsnfl~r ·as,ra.loss.
of
1t1probab1l!t!oa
e;nd
Gttik!vg.
oon.-
• _
,,
I
~
' ' • • r • •
tx-nstsj.
Tho
a.1--a~tia·t,
then,
somat1.mes
rsltes
:on
the·
.
-.
'
< ' • ' •
. moral
aa·11ou.anasa
of
h1a sndionee
·to
·me.lee
aocH,ptabla ·
an·,
'. '
:~
'
~~ ~ ~ ~~
~dep~lq'tr'Jre trofl:P~"Oho:Log.tQnl
ve~c11W
O
·
and
to
. . •
.•.
.
'i
011e.ble him,
to
obto1n
tl1e
.11awr·anutng,wh1oh a
o~medy~
aamo.naa.
·
...
4~
.we
~ss
from. Shekeap,en,:-e'
e,.
oo:11ooloe
·~o
bis
t~ngecues,.
w~
find
t/m.t
be . ~akee
more
ea~
to
rottml
.out,.
, , , , . , , . ·r ,, . , , , , ,
•'
~
,
·.,
, •
~thtf
latter
thm
he ·te1tes
to
olose
tllo
fonner.
· In. pJ.ao·e
of
•
leaving.
lcH,ee
:en,J.a,
the
drs.ffi2::t!st
·is
reluctant
to
leave
the
B"a.dle111oe
withoiit
:the pros1')3ot
of
a
new
and
better·.
:
~tete.-
et.
things
whioh
follows
·t11e
downfall
of
tl~
.trag_1c
hero•
f
..
fter
·t.11e
<leathe. o
1!.
Hs.mlet·nnd.L.~e~es
~d,
the.
King
atttl.
tha
Queen.
the
· stalwe.rt
fi@:t'e
of
yo1mg
.Fortlnbras
'. '• . .\
..
.
;
afrpenrs
to.
te.ke
up
the:
~e!ns
o:f
govo~nt.
in
;Denmark• .
' ' .'
,:
; . . '
Tl1e
·peopJ.e of· Seotlenc!'
are
to
enjoy
a hos.1·tllter and eenar
.
,.
.
..
'.
~
·,
/ ' ' ' .
··:
. ., '
·,
. .
l!.fe_.u.nder.t~e .ro1sn,
of
Ms;loolnt.
·Anlt
t~e
deaths
of
Romeo
eJ.td
.iftt11etpi1.t
e.n
end
t.o
tr,.e
fn.ti1~:feu~ ,between. t1'~
Capu.lets
and
the
ttontagues and
stop
tba
strlf
e
in
Verona
o
Tha
oate.etrophe
of
Shakeepeare•s
tragedies,
wllloh
leads
up
to
and
inoludes
the
death
of
the
hero•
1s
not
alw~s
brought
about
tn
the
same
manner.
bn.t
is
always
effeoted
by
..
.
the
same
means.
It
1
s
the
inevl
tabla
remlt
of
l!':an'
a deeas;
and
these
deeds
usttal!Jr
find
the!r
main
eourt<Je
1n a
flew
or
weakness
in
the
ehamoter
of
the
tragic
hero•
5112kaepeare
very-
rsrel.1
makes
t~e lee.st
attempt
to
surprise
by
his
tragic
cato.stro1lhes.
oooa.stone1l;v.
hov1ever
1
where
we
a.read
the
catastrophe
because
,~ve
love
the
hero,
e.
moment
ocoiu:-s.
just
preoe41ng
the
alose
0
1n
whtoh
a gleam
of
false
hope
.c..
.
..
lights
up
the
aarkenh1g
soene«
Tha
most·
outstandms
example 1 s
in
tlle
fifth
act
of
Kim
~-
,
For
3ttst
a
minute
we
teal
thPt
Edgar
m§\y
arrive
at
the
prison
in
time
..
"
to
save
Coraa11a
am
Lear.
Antoey• s
v1oto~
on
land
tlttd
the
outbttrs'c
of
pride
and
joy
as
he and
Cleopatra
meet
..
also
tend
to
gtve
tts
hope
for
a
final
vioto~
of
the
lovers.
And
the
spparent
reoono1.l1ation
between Hamlet
and
IJaertes
elmoet
blinds
us
to
our
.better
lt:nov1lec1ga
as
to
the
outcome
..
of
the
drama.
Bttt.
all
in
all"
though
wa
oennot
£0:rese~
the
preoiae
vra1
in
which
the
oatastmphe
vlill
be
brO't'l8ht
about,
\'18
feel
that
1
t
is
unavoidable.·
In
nu:my
of
Shakaepeare •
a
tragedtes.
ohe.noe
or
aooident bee
sn
appreciable
tnfluenoa
at
soma
point
in
the
aotion.
It
is
more
a~oident
that
Romeo
does
·not
reoa1ve
the
Fris.r•
s
mGsssga
I
that
Desdemona
drops
her
bandkerohit:lf
.at
1~:•.·
at
the
moat
ta~al
~omen~, and
that
the
pirate
ship
attao~s
' I
the
Shi})
ot·
Re,mlet
or
that
he
l?.Xld.
Ittertea
exabange
BWords
,·
. '
..
.
~
~s
theF
aouffle
•.
Bat
few
of
the
im1)ortant.aooidentel ooour
• . :'
',
1'•;
' ' '
1
tu1t11
the
aotiQn
~a
well
edvenced alit
the
impressiox;t
of
the
; , , -• I
t , ' • -
,.
~e..ues.1
'saqo.enoe
ts
too
fi
m:4r
fixed
to be
impaired.,
'.l,
.Where,
there
ls
somtJ
olun:'Sote~
0
oosideELthe
he1~
•.
wl10
engages
o-q.r
interest
ln
the
htghas·t
6.egrae,
ana
wl
th
1.vroee
,·',
' ' ; ' . . '
:''\
',
';
.t,
' ' .
ra
~e
~
~1$
hero~
8
..
~s
.
bov_nd
up,.
S~EU:Jpea~
.
spread.a
the
.
oe.taet~phe
out 6.
SO
to
speelto
rn
Antoey
.an~
Cl~o~tra
•.
fQr
examp.1~.
t·he
aes.th.ot
the
hero ooours
..
1n
the
:!:ourth
..
~a:t,,
w.hile
that
of
the
haroina
doe$
not
Olma
\tntll
t11a
very
end
I '
..
• • ' ,
of
the
tragedy~
In
like
manner, t
ha
deaths
of
Romeo
end
•. ' . 'i, ' '
Jullet
• o.f Desdemona
and
Othello,
e.nd
of
!ad~
Macbeth
and
• ' E •
.,
•
,;,
M~obeth
~re
saparstea.
by
eonw
distfUloe
•..
~~na~,
Shakespeare
~isdaln~
the
pettiness
o,
f
eo-
0,alled
.:Po~tt'a
3ttst1oa
•.
~ear.
to
Dr.
Johnson
~d
,other
c.ritto,s
ot
his
oentney., V1lla1ey
:never.remains
v~otor!?us
a,~4
prosperous
at
tha
last.
Bttt hepp1ness and misery-.
or
av~n
~if
e,
and
death
0
are
no:t
as~lgned
in
proportion
to
merit.•
One
needs
on~
to
think
of
Desdemona
end
Cordelia
' '
to
rea11¥&.e
that
poetic
justtoe
1s absent fr:om Shekespeare•:s
-
'
trag1o
pioture.
of
l!fe.
·;
Although
tt
ls
tm.possible
to
s~ee,k
~f
Sha1Feapeere
1
s
art
w
1thout
indulging
in
plat1.tt1.iles
1
1
t
1s
f:;
lso
impossible
to
oonoluda a
study
of
Shakespeare's
method
of
olosing
s.
'
' '
"
p1sy v,ithout
recognising
his
skill
as
a
drP..mat1o
artist
o
126.
We
sea
h.tm
follow
the
so•onlled
rules
of
drame.t!c taolmiqu.e
and encl a
play
as
we
thb1k
it
shonld
end.
We
see
h1m
terminet e
8.
plat
so
ea
to
meks
it
dram!l.ttoally
ef1~ecttve
.
.
but
psyohologioally
ttntrue.
.t\nd
we
GVel'l
see
h1m
make
the.
,
catastrophe
payohologioall~
trne
though
are.mattoe1ly
.
·;
.
1nefreotiva
~
somattmes
wa
look
for
the
eluo1
~at!o~i
of
Sbakaspee,re•s
method
in
the
nat,ire
of
his
aud1enoe.
At
;..
:.
.
.
.
.
'
other
t!.mas •.
\Ve
:f'eal
tl,e.t
he
is
aimp:4r
exh1b1ting
a
lordly
careleSs..7'.leea. ·
Btit
the
:Va!W
faot
·tlw.t
:no
one
explr\nn.t1on
of
h~s
wc,:rk
p:roves
(;)ntire~
sst1efaotory.
oou.plea vd.th
the
feat
tl'B.t
so
msJl;V
of
his
dramas have remained
on
the
staga
1
seams
to
1:ndi(le.te
tln
t Shelteapeare
poseessea
t:m
"Peottliar
quality"
of
thG
lJlfl.,yv.1:_r~ght,
e,nd
.tm
t he
VIrote
not
for
one
age
"bt1..t
fo
:r
e1
..
l
..
l
thn~"
• .
BIBLIOGRAPm!
A.-
TEOmTigUE
01?.
T
..
·
nm
DRAlVfA
q;;
'. -
.........
---
Freyte.gt
llr.
Gustave
Teohn!g,uei ot. ,th~ Drama.
An
}SXpoe!.tton
.
of
l>remat1o
Oompos!tion
and·
Art.
Translated
by
Elias.
...
.
..
..
.
Jo
?l£ao~wan.
6th.}~tU.tion ... Chicago,
Scott,
Foresman
s.nd.
Coo
[18~4] •
··~395
PP•
Hennequ~n. Alfro~..
!rth~
4-:,;-t,
!!
~i§Nvir1
ti_;ns
(
B
•.
Y
o •
1890) ,
PP•
1M•t43_. .
~
.
·Me:ttbews;'
nrantte~,.
f:.
~t-quz
Jlt
th.e
:Orama~
ltoYoi
Hoilghton
1u.tr:1in Qo.; 1910..
s20
PP•
,.
••
fill •
JI
Price
0:
W• T •
Th:e
*J.•a<Jhnigtte
·!!.!
the
Dramao A
Statement
of
the
Pr1:n~1)?les Involved 1n.
tJtt)
Value
o~
Dramatic
ltatertal,
in
the
Oonetra.otion
of
Playe.
ar1a
tn
.
...
.
..
.
Dram.a~to
Cr!tict~.·lfoYoi
Brentano•sr>
1892"
28'1
PP•
W"oodbrtdge,
Elisabeth.,
The
Drama. Xts
rsw
and
its
,·II
..............
..
.:•"
Teobnique\!l
Chtoasoi
Al~
and
Bsoon.
[~898]
• 181
PP•
[Clarke•
W11l1am
Geo
:tge
and.
Vlrlght, Willi.am
Aldis
J.,
~-
works
g!
w111te~m
.filw.kes;eeare.
[The
Globe
Edition]
...
Stratford•on--Avo:n; The
Shakespeare
Rea.a.
Press,
0
1904.
10
Vols.
Hudson,
tba
Rev
o.
Raney
:N,.
JShakeszaeare~
s,
Tregs?dz
t1f •
11
~£w1?.e11~e"
bBoston: Ginn and Co.,.
~895.
224
:PPo
Lawes
0
3olm
t.
~11~.s
Well
1~.l'ls-t,
.~
W~11~
(The Tudor .
Shakespeare.
ed1tad
by-
Ne1lson
1
iv.
A.
and Thott1di1te;
.
..
. -
.
...
'
.
..
.
.,
A,..
Ho)•
Nf!Yet
T)le
!iaomtl:ten
Oo~;
1912•
157 PPo
\//·}\
;'
·_.
·:·,}tf
f
:~~>.:,
.Shakesy,aara 1
edited
by
m,11eon,
w.
A.
end
Thornd!ke
•
..
II•
._
...
~~
~
..-
....
•
...
Ao
Ho)
6N.Yet The ttaomtllen
Oo
..
·;
1912.
146
PP•
Qu,1ller.;..Oottoh,
Sir
Artlrar.
and
Wilson•
·3ohn
Dover
•.
The·
.
'
.
~
'
'
.
.
'
'
'
:
''
.
;
.
../
.
' '
'·
'' '
·:
'.'
''
Two
Gentlemen
of
Verone. ·OombrUiset
e.t
the
uni
verst
tr
·-
PF"D.
C... -.
''
' .
:ereas~
1921.
·
110
·w
o:
'
. .
Rolfe
0:
vVilll~
:3
•·
~!Jelte·spgare
1
s
Comeg;z
of
'"Love• s
!/3.boi.U.'*
1 a
Lo··st~·. · ·
E'.Y~:·\Am.e~~toan
·Dook
Co'•s,'
[19037
:.,.
-
........
~.....
..
'..l
196
'pp
•.
Sampson,;
Martin
\f•
The
·'l1wo
:oentlamen
of
Verone:.. {
The
--.......
--
.
.
Tttdor
Sheke·speare~
edited
·1.,y
:Neilson,
VT,.
A,
and
Thornit~ke,
A.
n,).-
lt,Y,i
·The-ttaomtllan oo.·,·1912.
118 PP•
Tt1pper
0
Frederick
•.
The
Tamttut
of
th~
Shrewf)
(The
T11dor
-··"'
.......................
~.--
Shakespeare,
edited
by liatleon
•.
w.
A.
end
Thorndike'·,
..
~
.
...
.
..
.
0 •
ORITI
CAL
REF~1RElIO'!'.;S
Arohe~.
Vl1lltem, Study
and
Ste.gee:
A
Year-book
of'
·
~rit!e1am
(Lond~n~ · 1899) • ·
t>P•
77•1260
Baker
I
George
.Pterce,
:The.
Dev~lOJ21!18nt
of
Si"laltespoa~re
!!
'
a
Dra:mati
st
(
E'
«>Yo
,,
190
'1)
•
:pp• 100-314•
...
.
.
.
'
.
l3rauley
t
A
.,
.0•
~
Shekea;e:enraan ·
:.J!?:B€£ep.z
e·
·.
~eotttres ·
on
Hamlet.
o·tnello •
K~ng
Leer,
Maobsth.
Seoond
·
ed1
t1on
'{Thi.rd
impression)
•.
·
tondon,
· ?llaomillan
and
Co••
BrandeB:1-
George.
:
y1111~~.
sliateJmea~e.
,.
A
.P~1
~
loal
study
~
.
Llndon: William
l!etnem2:nn.-
1898.o
2
Volt,.
,.;.
' ,~-
;.
::
~~
-i•
'- ' ' •
I,
~J
• ;
'.,
Works
of
Willtsm- Sh
8S
ea.re {
Stratford•_.
on-Avon,
.
. . .
,.~-
,,
...
;:
~t•• ;
.
,,
'
..
,
..
.
.
'
'
.
'
'
.
' '
..
·.
l.907)
~
Vol,
X_
1 -pp,·
~~;i.;334
ct
·~
'
...
. ..
·$,
. .
·..
.. . . ·'
·
D3r.ne
0
ii.
-st.
C~re.
-''Slll?lkaeveere•
s
AucU.enoe",
A
·Serles.
..
'
.
.
'
.
..
.
.
.
.
..
'
.
..
.
. .
.
.
.
.
'
~.,~
-~.para
9J?
•.
S,f1Bk8t:ll?if;l8,r~
ml!l
..
.!tm.
~he~t~Q_
to
get.her.,
·
.!it~
,Pa~ers
.~11
Edward_
Allel!!,
!I!!
Eerlz
Reoords
.•
ll~~et~~t,illt~
--~~-
.·
~~~ ~ ~
>
:t,1~,~.
o,;t
~~ ~~ ~
J?;L
·
i1en1b~~E!
at--·,l~.
Sl¥l~emara
~sso.o1at.~.o;t
f
,Ionp.on,
192:3)
o.
·PP•,.
1e~-2~s
..•.
· , , ,
.,
,
OolerUlge~
Sa.mu.al
Ta;vlort
Laotnres
and
Notes
otr
She.ks-Pere
.·
. . . .
...
;_:J~
..........
.
~$!..!-';the~
~Prtat1~~~.foata~.
f!JO~~~~!
_1~9~~
ih
P:P•
·a74•,
394.
..·
1
Dov,aen
•..
Ed:7at'«
•\
!:pe}tosl?!'!t\tte
,,r
:_
A .~rit
,~~a;t.
S~ey .of
ht.f:3
l'a
..
nd
and._lrt.
Third.
lMJ.tt;on.
N.Y.;. Herper and
B~othe~s. f
no
..
ds.t'e
given) •
386 PP•.
Flemir.tg
•·
W1ll1em.
R,
_Slmke~ae~e*.s
~lots.
A
Stu.icy'
1n
' '
· Dremt1tJ Oonstru.ot1on·,·
lf.Y.-1
G,
·
P,
..
Pu.tne.m.
1
s
..
Sons,
'.
~
.
'
.
~
-
,.
-1~02o :
467
l'>P•
.
..
~
Fnmes!s, Horace
?owar~'.~-
!.llet~J~Verioriun
Edition
,o!
.~l~ltee~are,
~~~
~d1t1o~
•.
~
PJ11le,delp~a:
3•
B.
~1pp1n~~t~
~o-~
[~8~1,~~~~8]•.
_[~O
V~lsoJ•
..
.
Grain.~-
T
•.
,~
~nnat1q,
Crit1o1sm~
(London~:1890).=PP•
35•
38ft
44-41,
100-102.1 115-l.l.8
*·
185-191.
150
•.
nttght'.a
_Cbnrl.es, St1.1dies
p!.
§Jw.1tespes12:2,o
FormU:lg
a
Oom.panion
Vo
1mna
to
Evecy·.
Ed"!
tlo11 .
of.
t ha .
Text (
1DndOil1
1849) ,
II
•
4!
tawroo.oe;,
W:tll~'a.m,
v11
·hherlo •
·'
Shcl:eeooci"e'·
s
l?rot>°lam
Qoma[ie
1
~
...
..
.
.
.
'
.
(N.
Y!
~.
1931) •
p:Po.
l,.205•
..
--
I .
!.tou.nab1l.r9",,:
-Thomna
R.
:!lta;ka§lllears
~
~
Dranfl.tio,
Art!st.
Wi
tli
a11
·.Acoo~nt,
of
bl
t:f
Repu.ta'.t
ion
at
Vart~ttS
I'er1otts
i
'
.
.
.
.
No
Y.
t . .
Charles.
SorU,nor•
s
S011.e,.
1901•.
4419
pp~
..
.
..
Mabie,
Eamtlton
Wright~. \ff!l.1t1sm _
Shskearm:?.re,.
Poet•
Drninlt·tst
ei1t1
~11.,
!k:i,
odit'!on
wt
th
new
pi~etaoe.
N.Y.:
The
~!at::n1illt.n1
Oo~,
1907.,
MG
PP•
·
itas_·
efiE>lu,
.,Yolmo
·
V1il11t~
Shekosr.>enre
,-
fl:Iome
un!.verat'cy
••
. . rn
If
•
r,q
1
,rr r
set'
r
Li
braT.1
ot
irodem
Ifln€tie?a)
\1_
.
:ton~on~
WilJJ
..
ems ond ·
Nor~e.te,
(no
Ba.ta
.st.·ven) •
252 PP•· ·
.
Matthev1a·,--
Bronder,
.~heltBJ28~
!J2
!:,-
}?J.p,;{tVriS~t•
lrc."l-,.#
· .
Oh~rles
Sa:t'i.b~e:r•
a Sons~
1913•
·
·599
pp.,
Mou.lton
0
Riohsrcl
o. Shakas:eoa.,r(z
~q
a
Dramatto
Artist
o:
A
Popular
Illustrs.tion
of
the
Prtnotples
of
Soient1f1o
O:ritloismo
.
OXfolld.:
et
the
Clarendon·
.
.
Pr~ss,·
1885•
520
PP~
Qutllar-..Couch, Sil"
1:..rtl1'lro.-
}19Sec
O!!
Sh.~kas,n2are• e
•.a
Wor1~~shi:n•
IT.Ye.:.
Henry
Holt. and
COo
1
_
l9l7e
.
......
,
·l
.?a.
358
PP•
Icymer.
Thomas. "l!
1
rom,
'A
Short
Vtav1
cf
Trosod;y
f
tts
Origine.10
·
~oallenoy
•
.::md
Oorn,Apt1on,
With
so.no
Refleotione
on
Shakespear
and
o·ther
Pro\rtt
tionoro•
1
1 •
Oritionl
~ee,,z;s
!J
1
f
..
1.ll2.
seve~teentl1
Oenttl!'l. ('Oltfora.
1908) •
Vo1o
IIt
PP•
208•255.
Sohlege:t
•.
Au.ga.atus WllltEm,. Leotul:'es
on
Dramatic
Art
and
1!I!
...,....
___
....,......
.
..
-----
~t~erat"re.
!Translated
··by
Jolln
B:IJlok•
Londor1,
1879) •
ll'P
t
U&-440
•
'.
SW1nburne
•
Algernon
Chsr~ea•.~
[ !
j~tu9,y;.
st
Sbake~ae:r!lJ • .
[Cba~to
e.~a.
\V1~dusJ
o
lT1
tle
page
mtesittg)
o
309
PP•
Thornrlike
0
Ash1ey
Ho, The
Ini'luenoe
~~
Bea.um?nt
an~
J!la~ohe,~
~~
,Sheks:eere
·
(Woroeeter,
Mass.) •
pp~.
133•
169~
Thom<i1ke
1
Ashley
n.
0
~glteh
Oome.a;z,
..
(N.Y••
3.9291
•
PPo
•
96•139
•
..
Ulr101
0
D~,,.
1Iermsnn. Sheksr.,esre' a
Dramet~o
i\.rt
•
Rtstor,
e.nti
C,bn~oter
of
Shaltspeare•
s
Plefso
Tra.nsltlted
from
the
thi:rd
edition
of
the
germen
With
Sthi1tions
and
oorre<Jtio:na
b~
the
authott
1
by
~•
:Oora
S~hmit~,
~ona.on:
G~otse
:ae11·
and
sons
1
1890"
·2
Vols.
Winter,
W11ll.£m•
,~lmkas:n~~ra,
on
..
~ ~
Stf¥t~ ... N.Y";.
Atotfattt
Yara.
and
Coo,
1915. 8
Volso
Magazine
Articles
,,
'
.
'
?13wrenca, Vltll!em
\Vl
~herle,
lftTha
~tea.ning
of
All* a
wag
tmt
Fmcla
we.?:~t,
Publ!oations
.g!
the
Mo~ern
!.e.n~e.g_e.
A,s,eo,o!a
t!gJl
,g!
Amari
oa•XXXVI
:t
O
418•
469.
Lsmwenoa"
W111lem
Vii
therle
O
1''The
wager·
_in
Qmbel:tn~
1
"'
0
•
~!l!og~io?}Jl s.!
~Jl.!
M.o~e11!,
1/lPStmG~
Jtaeooiatton
9£.~
A:p1er!9.,r:1..
·
xxzy
•
391-451
..
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'S1w.ka11ere
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thtif
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Aesooiatton
~:
I
• •
•.
• ' • C
•'
' • •
~
'
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+
.Amer!os~
X.~I
(
Sept
••
192'1) •
736•61.
