The Dehumanizing of the Humanities and a Remedy

Explores issues of professionalization and politicalization of humanistic studies. Sketches an up-dated return to the basics of humanistic research and teaching

Shakespeare's "Sonnet 73" as a Poetic Emblem

This close reading addresses the couplet, puzzling because of its generality, which critics try to constrict by forced specificity. The quatrain-to-quatrain sequence of the image clusters suggests the theme of transitoriness and parallels The Order of The Burial of the Dead in The Book of Common Prayer, which burial ritual justifies the generality of the couplet implied by the theme of the sonnet: sic transit gloria mundi

The Origins of Colbrond in Richardson's "Pamela"

This paper traces the name "Colbrond" to the chivalric romance "Guy of Warwick" and compares his description with grotesque descriptions like those in "The Wedding of Sir Gawain and Dame Ragnell" and to other features common in chivalric romances. It concludes by interpreting the use of his figure in making Lord B's realization of virtue plausible and thereby worthy of Pamela

A Sense of the Ending: Does Malcolm Earn It?

This presentation asks whether Macbeth ends literally, as traditional criticism has viewed it, or ironically, as modern criticism would have it. Its answer emphasizes Malcolm’s role by detailing the Court Scene, which tests Malcolm, not MacDuff, to establish his character, legitimacy, and competence to rule. It shows this scene as a turning point similar to turning points in English chivalric romances. As they end in celebration, so Macbeth ends in celebrating the restoration of right rule

Is Renaissance Shakespeare Medieval or Modern?

Uses the survival of the English chivalric romance tradition throughout Shakespeare's professional lifetime and his exploitation of that tradition especially in his major tragedies to challenge the commonplace distinction between the medieval and the renaissance on the one hand, and to suggest that his openness to that medieval tradition showed him far more accepting of the past than anticipating the modern

An Appraisal of Alfred de Vigny's "Le More de Venise" and its Place in the History of the French Theatre

Theater historians regard Alfred de Vigny's "Le More de Venise" as an early part of the romantic revolution against French classicism. Despite the sensation created by the word "mouchoir," an analysis of the play shows that de Vigny's adaptation of Shakespeare's "Othello" reflects the diction and versification, the simplification of character and plot, and the sentimentalism--in a word, the decorum--of traditional French drama

A Bibliography of Dramatic Adaptations of Medieval Romances and Renaissance Chivalric Romances First Available in English through 1616

This bibliography is divided into three parts. The first two parts encompass medieval romances first available in English before 1558. Part I includes romances by unknown or little-known authors or translators which others, as noted, regard as romances. Part II includes romances by those who are well known: Caxton, Chaucer, Gower, Henryson, Lydgate, and Malory. Part III includes Renaissance chivalric romances first written or translated in English after 1557 and through 1616. The data for each romance in each part identify, as appropriate, manuscripts, printings, entries, and adaptations

Answer the Question, Question Authority, and Read Inclusively

Critiques current status of relationship between scholarly research and academic teaching. Uses three examples--one each from Macbeth, Othello, and King Lear--to illustrate connections between both efforts

“‘Othello Is Not about Race’”

Received opinion based on scanty evidence and skimpy arguments holds that race and racism operate in important ways in Othello and Othello’s jealousy. Few specifically race-referential words and only one specifically racist image occur in the play, almost all in the first four scenes. Brabantio’s, Roderigo’s, and Iago’s views are mistaken as representative of Venetian racism; the Duke’s and the other Senators’ views are ignored. The trial shows the Duke and the Senators, with Brabantio the sole exception, indifferent to or enlightened on the matter of race. Nothing relevant to race or racism causes Othello’s jealousy. No race or racist language or imagery clusters about the pivotal moments preceding the onset of Othello’s jealousy. In fact, race, a factor diminished by association with social graces and age, arises afterwards as a rationalization. Even then, Othello dismisses his blackness when he ponders Desdemona’s presumed infidelity. Othello’s jealousy results from Iago’s exploiting the ambiguous role of intermediaries in courtly love relationships. The literary history of intermediaries who are engaged to woo on behalf of another but who fail or betray their intended purpose is part of the disposition of chivalric knights. Iago, who has schemed to make Cassio’s “courtship” the basis of revenge, seizes on and exploits the fact of Cassio’s role in the courtship the moment when Desdemona reveals it. He persuades Othello to see himself, no longer as an accomplished chivalric knight whose deeds have won a beautiful lady with the aid of an intermediary telling his story, but as an ill-matched husband cuckolded by an intermediary more suitable than himself. Literary history explains Othello’s jealousy and its sudden onset in terms familiar to Shakespeare and his contemporaries. Imposing modern views of race and racism in Othello reduces the play to a prooftext and teaches little or nothing about race or racism in Shakespeare’s day or in ours

The English Profession-Tendentious Reflections of a Retired Independent Scholar.

Provides a personal perspective on, and analysis of, developments in the English profession. Emphasizes the proliferation of PhDs, the industrialization of scholarship and its effects on research and promotion, and the diminished influence and status of English studies. Makes suggestions for addressing present difficulties and reviving the study of English