CONTRIBUTORS JAMES P.BEDNARZ,Long Island University,USA CATHERINE BELSEY,Cardiff University,Wales PATRICK CHENEY,Pennsylvania State University,USA DANIELLE CLARKE,University College Dublin,Ireland LUKAS ERNE,University of Geneva,Switzerland ANDREW HADFIELD,Sussex University,UK HEATHER JAMES,University of Southern California,USA COPPELIA KAHN,Brown University,USA WILLIAM J.KENNEDY,Cornell University,USA SASHA ROBERTS,University of Kent,UK JOHN ROE,University of York,UK KATHERINE ROWE,Bryn Mawr College,USA DAVID SCHALK WYK,University of Cape Town,South Africa MICHAEL SCHOENFELDT,University of Michigan,USA 这
CONTRIBUTORS JAMES P . BEDNARZ , Long Island University, USA CATHERINE BELSEY , Cardiff University, Wales PATRICK CHENEY, Pennsylvania State University, USA DANIELLE CLARKE, University College Dublin, Ireland LUKAS ERNE, University of Geneva, Switzerland ANDREW HADFIELD, Sussex University, UK HEATHER JAMES , University of Southern California, USA COPPE´ LIA KAHN , Brown University, USA WILLIAM J. KENNEDY , Cornell University, USA SASHA ROBERTS , University of Kent, UK JOHN ROE, University of York, UK KATHERINE ROWE, Bryn Mawr College, USA DAVID SCHALKWYK, University of Cape Town, South Africa MICHAEL SCHOENFELDT, University of Michigan, USA ix
PREFACE The Cambridge Companion to Shakespeare's Poetry is the first volume in print to study the achievement of Shakespeare's poetry both in his poems and in his plays.As such,the companion aims to complement other volumes in the Shakespeare companion series.These volumes,all published by Cambridge University Press,concentrate on the plays and Shakespeare's role as a man of the theatre:Shakespeare on Film,edited by Russell Jackson (2ooo); Shakespeare on Stage,edited by Stanley Wells and Sarah Stanton (2002); Shakespearean Comedy,edited by Alexander Leggatt(2002);Shakespeare's History Plays,edited by Michael Hattaway (2002);Shakespearean Tragedy, edited by Claire McEachern(2002);and Shakespeare,edited by Margreta de Grazia and Stanley Wells (zoo).This last volume includes only a single chapter on the poems(by John Kerrigan),and nothing on the topic of poetry in the plays,although it does include a few chapters relevant to the present volume:those on Shakespeare's texts by Barbara A.Mowat,on his reading by Leonard Barkan,and,most importantly,on his language by de Grazia.Only incidentally,however,do these chapters mention the poems,so that the texts, the reading,and the language discussed are overwhelmingly for and of the plays.Accordingly,this new companion assembles a distinguished group of scholars from the United Kingdom,the United States,the Republic of Ireland, Switzerland,and South Africa to present a series of chapters on the individual poems,on the topic of poetry in the plays,on the special contexts important for viewing 'Shakespeare's poetry',and on the afterlife of this topic. The companion consists of fourteen chapters,each dealing with a literary, historical,or cultural feature of Shakespeare's poetry,and each concluding with a select 'Reading list'of recommended works.The volume also includes a chronology geared to the individual chapters and a concluding note on the reference works available on Shakespeare's poetry.The 'Introduction'draws a frame for viewing Shakespeare's poetry in the twenty-first century,while the structure of the subsequent chapters conforms to the tripartite format of the companion series. xi
PREFACE The Cambridge Companion to Shakespeare’s Poetry is the first volume in print to study the achievement of Shakespeare’s poetry both in his poems and in his plays. As such, the companion aims to complement other volumes in the Shakespeare companion series. These volumes, all published by Cambridge University Press, concentrate on the plays and Shakespeare’s role as a man of the theatre: Shakespeare on Film, edited by Russell Jackson (2000); Shakespeare on Stage, edited by Stanley Wells and Sarah Stanton (2002); Shakespearean Comedy, edited by Alexander Leggatt (2002); Shakespeare’s History Plays, edited by Michael Hattaway (2002); Shakespearean Tragedy, edited by Claire McEachern (2002); and Shakespeare, edited by Margreta de Grazia and Stanley Wells (2001). This last volume includes only a single chapter on the poems (by John Kerrigan), and nothing on the topic of poetry in the plays, although it does include a few chapters relevant to the present volume: those on Shakespeare’s texts by Barbara A. Mowat, on his reading by Leonard Barkan, and, most importantly, on his language by de Grazia. Only incidentally, however, do these chapters mention the poems, so that the texts, the reading, and the language discussed are overwhelmingly for and of the plays. Accordingly, this new companion assembles a distinguished group of scholars from the United Kingdom, the United States, the Republic of Ireland, Switzerland, and South Africa to present a series of chapters on the individual poems, on the topic of poetry in the plays, on the special contexts important for viewing ‘Shakespeare’s poetry’, and on the afterlife of this topic. The companion consists of fourteen chapters, each dealing with a literary, historical, or cultural feature of Shakespeare’s poetry, and each concluding with a select ‘Reading list’ of recommended works. The volume also includes a chronology geared to the individual chapters and a concluding note on the reference works available on Shakespeare’s poetry. The ‘Introduction’ draws a frame for viewing Shakespeare’s poetry in the twenty-first century, while the structure of the subsequent chapters conforms to the tripartite format of the companion series. xi
PREFACE The first part divides into three chapters,and establishes the critical foundation for viewing the volume topic,examining Shakespeare's role in the development of English poetry',his use of 'rhetoric,style,and poetic form',and the media of'print and manuscript'that allowed his poetry to take its distinctive shape.These chapters suggest a range of cultural venues and contexts for witnessing how Shakespeare's poetry derives from,and responds to,the primary energies of the Renaissance,in Europe as in England. The second part of the companion consists of five chapters on individual poems and ancillary volumes of published poetry,with one chapter each on Venus and Adonis,The Rape of Lucrece,the Sonnets,and A Lover's Complaint,and a combined chapter on the two works taught less often: The Passionate Pilgrim and The Phoenix and Turtle'.These chapters aim to orient readers to the poems and to the critical conversation about them,and (where relevant)to apply the material from the first part of the companion. Finally,the third part consists of six chapters that seek to widen the topic of 'Shakespeare's poetry'.The first three chapters introduce important topics,contexts,and methodologies,attending to 'politics and religion', to love,beauty,and sexuality',and to the recurrent 'classicism'in Shakespeare's poems (especially Virgil and Ovid).The next two chapters each produce a different critical model for relating the poems to the plays, the poetical to the theatrical:the first on Shakespeare's use of 'poetry in the plays';the second on the connection between 'poetry and performance'. A concluding chapter treats the afterlife of Shakespeare's poems-their reception and influence'. The word 'poetry'in the volume title is deliberately open-ended,evoking Shakespeare's poems and simultaneously calling attention to the poetical as a major tool and concept in the Shakespearean craft,in plays as in poems,for the stage as for the page.Thus individual chapters focus on the poems but layer in commentary on the plays when relevant or possible. xii
The first part divides into three chapters, and establishes the critical foundation for viewing the volume topic, examining Shakespeare’s role in ‘the development of English poetry’, his use of ‘rhetoric, style, and poetic form’, and the media of ‘print and manuscript’ that allowed his poetry to take its distinctive shape. These chapters suggest a range of cultural venues and contexts for witnessing how Shakespeare’s poetry derives from, and responds to, the primary energies of the Renaissance, in Europe as in England. The second part of the companion consists of five chapters on individual poems and ancillary volumes of published poetry, with one chapter each on Venus and Adonis, The Rape of Lucrece, the Sonnets, and A Lover’s Complaint, and a combined chapter on the two works taught less often: The Passionate Pilgrim and ‘The Phoenix and Turtle’. These chapters aim to orient readers to the poems and to the critical conversation about them, and (where relevant) to apply the material from the first part of the companion. Finally, the third part consists of six chapters that seek to widen the topic of ‘Shakespeare’s poetry’. The first three chapters introduce important topics, contexts, and methodologies, attending to ‘politics and religion’, to ‘love, beauty, and sexuality’, and to the recurrent ‘classicism’ in Shakespeare’s poems (especially Virgil and Ovid). The next two chapters each produce a different critical model for relating the poems to the plays, the poetical to the theatrical: the first on Shakespeare’s use of ‘poetry in the plays’; the second on the connection between ‘poetry and performance’. A concluding chapter treats the afterlife of Shakespeare’s poems – their ‘reception and influence’. The word ‘poetry’ in the volume title is deliberately open-ended, evoking Shakespeare’s poems and simultaneously calling attention to the poetical as a major tool and concept in the Shakespearean craft, in plays as in poems, for the stage as for the page. Thus individual chapters focus on the poems but layer in commentary on the plays when relevant or possible. PREFACE xii
ACKNOWLEDGEMENTS The idea for a Cambridge Companion to Shakespeare's Poetry emerged through discussions with Sarah Stanton at the Press.I am grateful to her for support and advice throughout the project. Also at the Press,I wish to thank Jackie Warren for guiding the volume through production with courtesy and efficiency,and Penny Wheeler for expertly copy-editing the manuscript. The Press produced four readers'reports on the volume proposal,and each of them helped shape the final outcome.So did Lukas Erne and Colin Burrow,who read the Introduction and the note on reference works,and who offered scrupulous commentary.As always,at Penn State I wish to thank Robert R.Edwards,Garrett A.Sullivan,Jr.,and Laura Lunger Knoppers for their continued conversation and collegial friendship.My department heads,Robert Caserio in English and Caroline D.Eckhardt in Comparative Literature,make my work possible through their generous support. Three research assistants also made contributions.Alexis Hait,an under- graduate intern,helped assemble some of the upfront material;Eric Brune, also an undergraduate intern,compiled the Index;and Giuseppina lacono, a Ph.D.student,prepared both the Chronology and the note on 'Reference works on Shakespeare's poetry'.My thanks to all three for doing excellent work. Finally,let me thank the contributors themselves.Through their care, discipline,and scholarship,they have ensured that this volume appears in a timely fashion.The field is lucky to depend on so much expertise,assembled in a single volume,and devoted to Shakespeare's poetry. xiii
ACKNOWLEDGEMENTS The idea for a Cambridge Companion to Shakespeare’s Poetry emerged through discussions with Sarah Stanton at the Press. I am grateful to her for support and advice throughout the project. Also at the Press, I wish to thank Jackie Warren for guiding the volume through production with courtesy and efficiency, and Penny Wheeler for expertly copy-editing the manuscript. The Press produced four readers’ reports on the volume proposal, and each of them helped shape the final outcome. So did Lukas Erne and Colin Burrow, who read the Introduction and the note on reference works, and who offered scrupulous commentary. As always, at Penn State I wish to thank Robert R. Edwards, Garrett A. Sullivan, Jr., and Laura Lunger Knoppers for their continued conversation and collegial friendship. My department heads, Robert Caserio in English and Caroline D. Eckhardt in Comparative Literature, make my work possible through their generous support. Three research assistants also made contributions. Alexis Hait, an undergraduate intern, helped assemble some of the upfront material; Eric Brune, also an undergraduate intern, compiled the Index; and Giuseppina Iacono, a Ph.D. student, prepared both the Chronology and the note on ‘Reference works on Shakespeare’s poetry’. My thanks to all three for doing excellent work. Finally, let me thank the contributors themselves. Through their care, discipline, and scholarship, they have ensured that this volume appears in a timely fashion. The field is lucky to depend on so much expertise, assembled in a single volume, and devoted to Shakespeare’s poetry. xiii
NOTE ON TEXTS All quotations from the poems and plays of Shakespeare come from Cambridge University Press editions,unless otherwise noted. In particular,for Venus and Adonis,The Rape of Lucrece,The Phoenix and Turtle',and A Lover's Complaint,quotations come from The Poems, ed.John Roe(Cambridge University Press,1992);and for the Sonnets,from The Sonnets,ed.G.Blakemore Evans(Cambridge University Press,1996). xiv
NOTE ON TEXTS All quotations from the poems and plays of Shakespeare come from Cambridge University Press editions, unless otherwise noted. In particular, for Venus and Adonis, The Rape of Lucrece, ‘The Phoenix and Turtle’, and A Lover’s Complaint, quotations come from The Poems, ed. John Roe (Cambridge University Press, 1992); and for the Sonnets, from The Sonnets, ed. G. Blakemore Evans (Cambridge University Press, 1996). xiv