Richard Fly - Shakespeares mediated world

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title	:	Shakespeare's Mediated World
author	:	Fly, Richard.
publisher	:	University of Massachusetts Press
isbn10 | asin	:	0870231995
print isbn13	:	9780870231995
ebook isbn13	:	9780585083476
language	:	English
subject	Shakespeare, William,--1564-1616--Criticism and interpretation, Mediation in literature.
publication date	:	1976
lcc	:	PR2976.F5 1976eb
ddc	:	822.3/3
subject	:	Shakespeare, William,--1564-1616--Criticism and interpretation, Mediation in literature.

Page iii Shakespeare's Mediated World Richard Fly University of Massachusetts Press Amherst 1976

Page iv Copyright 1976 by The University of Massachusetts Press All rights reserved Library of Congress Catalog Card Number 75-32486 ISBN 0-87023-199-5 Printed in the United States of America Second Printing, 1977 Publication of this book was assisted by the American Council of Learned Societies under a grant from the Andrew W. Mellon Foundation. Library of Congress Cataloging in Publication Data Fly, Richard, 1934 Shakespeare's mediated world. Bibliography: p. Includes index. 1. Shakespeare, William, 15641616Criticism and interpretation. 2. Mediation in literature. I. Title. PR 2976.F5 822.3'3 74-32486 ISBN 0-87023-199-5

Page v Contents Acknowledgments vii Introduction ix I Tempering Extremities: Hazardous Mediation in Romeo and Juliet 1 II Monumental Mockery: Troilus and Cressida and the Perversities of Medium 27 III Ragozine's Head: Comic Solutions Through Fraudulent Mediation in Measure for Measure 53 IV Beyond Extremity: King Lear and the Limits of Poetic Drama 85 V Confounding Contraries: The Unmediated World of Timon of Athens 117 Conclusion 143 Bibliography 149 Index 159

Page vii Acknowledgments My work on this book was substantially aided by two consecutive summer grants from The Research Foundation of the State University of New York, for which I am grateful. I am also obliged to Arthur F. Kinney of the English Literary Renaissance, Harry R. Garvin of the Bucknell Review, and Ernest J. Lovell of Texas Studies in Literature and Language and the University of Texas Press for permission to reprint revised and conflated versions of essays that first appeared in their journals: " 'I cannot come to Cressid but by Pandar': Mediation in the Theme and Structure of Troilus and Cressida," ELR, 3 (Winter, 1973), "Revelations of Darkness: the Language of Silence in King Lear," BUR, 20 (Winter, 1972), and "Beyond Extremity: A Reading of King Lear," TSLL, 16 (Spring, 1974). At moments of stalemate, discouragement, or just plain lethargy, I have been aroused and urged on by teachers, colleagues, and friends. Professor Norman Rabkin's generous instruction and example gave me whatever critical discipline I possess, and it is a pleasure to acknowledge my long-standing debt to him. My friends Carl Dennis and Joe Riddel read portions of the manuscript and, in every instance, brought light and lucidity where once obscurity reigned. James L. Calderwood read the manuscript at a late stage, bringing his intelligent scrutiny to bear on virtually every page. Ed Dryden,

Page viii Fred See, and Roy Roussel, my colleagues at the State University of New York at Buffalo, made criticism possible by the sanity and wit of their company. Finally, I am especially pleased to acknowledge the help of Professor Arthur F. Kinney, the editor of English Literary Renaissance, whose activity on behalf of this book has gone far beyond professional courtesy. All the quotations from Shakespeare's plays and poems are taken from William Shakespeare: The Complete Works, General Editor Alfred Harbage (Baltimore: Penguin Books, 1969). This edition is generally known as The Pelican Shakespeare.

Page ix Introduction This book is primarily a study of five Shakespearean plays that have proven especially difficult for both the critic and the general audience. For the most part I concentrate on the specific qualities of each play and try to avoid blurring the great differences, generic and otherwise, between them. I bring these particular plays together for general scrutiny, however, because I believe they do share some crucial features and also because I think they offer, when studied in sequence, a more precise understanding of Shakespeare's ceaseless, ever deepening engagement with his challenging medium. Two of the plays I discuss, Troilus and Cressida and Measure for Measure, display formal and thematic peculiarities that have caused some critics to group them together under the question-begging rubric of "Problem Plays." A third play, Timon of Athens, has failed to command enough critical respect to merit consideration even as a problem. Instead, commentators have usually labelled it unfinished and simply dismissed it as uninteresting to all but perhaps the textual scholar. On the other hand, Romeo and Juliet and King Lear, the other two plays I examine, are long-established masterpieces that probably measure, by their obvious differences in vision and structure, the unparalleled scope of Shakespeare's versatility in the tragic mode. Despite such sustained popularity, however, commentators continue to

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