Charles R Forker - Fancys Image: Contexts, Settings, and Perspectives in Shakespeare and His Contemporaries

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title	:	Fancy's Images : Contexts, Settings, and Perspectives in Shakespeare and His Contemporaries
author	:	Forker, Charles R.
publisher	:	Southern Illinois University Press
isbn10 | asin	:	0809315734
print isbn13	:	9780809315734
ebook isbn13	:	9780585369860
language	:	English
subject	Shakespeare, William,--1564-1616--Criticism and interpretation.
publication date	:	1990
lcc	:	PR2976.F58 1990eb
ddc	:	822.3/3
subject	:	Shakespeare, William,--1564-1616--Criticism and interpretation.

Page ii

Page iii Fancy's Images Contexts, Settings, and Perspectives in Shakespeare and His Contemporaries Charles R. Forker

Page iv Copyright 1990 by the Board of Trustees, Southern Illinois University All rights reserved Printed in the United States of America Edited by Teresa White Designed by Shannon M. McIntyre Production supervised by Natalia Nadraga Library of Congress Cataloging-in-Publication Data Forker, Charles R. Fancy's images : contexts, settings, and perspectives in Shakespeare and his contemporaries / Charles R. Forker. p. cm. Includes bibliographical references. 1. Shakespeare, William, 15641616Criticism and interpretation. 2. English drama17th centuryHistory and criticism. I. Title. PR2976.F58 1990 822.33dc20 89-21668 ISBN 0-8093-1573-4 CIP Frontispiece: Michelangelo Merisi da Caravaggio, Narcissus (c. 1596). Reproduced by permission of the Galleria Nazionale d'Arte Antica, Rome, in cooperation with Alinari/Art Resource, New York City. The paper used in this publication meets the minimum requirements of American National Standard for Information SciencesPermanence of Paper for Printed Library Materials, ANSI Z39.48-1984.

Page v For Joseph Candido

Page vii CONTENTS Illustrations ix Preface xi Part I. The Stage 1. Shakespeare's Theatrical Symbolism and Its Function in Hamlet 3 2. Titus Andronicus, Hamlet, and the Limits of Expressibility 18 3. Immediacy and Remoteness in The Taming of the Shrew and The Tempest 43 4. Wit, Wisdom, and Theatricality in The Book of Sir Thomas More 54 Part II. The Green World 5. "All the World's a Stage": Multiple Perspectives in Arden 71 6. Shakespeare's Chronicle Plays as Historical-Pastoral 79 7. The Green Underworld of Early Shakespearean Tragedy 96 8. Perdita's Distribution of Flowers and the Function of Lyricism in The Winter's Tale 113 9. The Idea of Time in Shakespeare's Second Historical Tetralogy 126 Part III. The Family 10. "A Little More than Kin, and Less than Kind": Incest, Intimacy, Narcissism, and Identity in Elizabethan and Stuart Drama 141 Notes 171 Index 193

Page ix ILLUSTRATIONS Michelangelo Merisi da Caravaggio, Narcissus (c. 1596) frontispiece 1. Vignette of the stage, from the title page of William Alabaster's Roxana Tragaedia (London, 1632) facing page 3 2. Emblem of the garden, from Henry Hawkins's Parthenia Sacra: Or the Mysterious and Deliciovs Garden of the Sacred Parthenes (Rouen, 1633), sig. A vi verso 70 3. Emblem of Ganymede riding a cock, from Henry Peacham's Minerva Britanna, Or a Garden of Heroical Deuises (London, 1612), p. 48 140

Page xi PREFACE My title, borrowed from a comedy that makes much of problems of identity as well as of the interplay between actuality and our perception of it (A Midsummer Night's Dream,V.i. 25), is intended to raise a capacious umbrella over this miscellaneous collection of paperspapers written over a considerable span of time and conceived originally as discrete pieces for professional conferences and journals. All of them, except the discussion of Perdita's flower speech in

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