Hostname: page-component-84b7d79bbc-5lx2p Total loading time: 0 Render date: 2024-07-29T21:03:12.859Z Has data issue: false hasContentIssue false
  • English
  • Français

New Comedy in All's Well That Ends Well

Published online by Cambridge University Press:  20 November 2018

Robert S. Miola
Robert S. Miola*
Affiliation:
Loyola College
Get access Rights & Permissions [Opens in a new window]

Extract

We are all Familiar with the traditional understanding of sources: a source is a previous text that shapes a present one through authorial reminiscence and manifests itself in verbal iteration. As the seminal works of Baldwin, Muir, and Bullough amply demonstrate, this definition has served us long and well, but every element in it has undergone intense scrutiny and reevaluation. Scholars now recognize the potential limitations of a linear, authorcentered, and largely verbal approach and have become attuned to the likelihood of intermediation, the encodings implicit in genre and language, the more oblique and more satisfying evidence of configuration—both rhetorical and dramatic. Within the spacious perspectives provided by scholars like Leo Salingar, Emrys Jones, Gordon Braden, Harry Levin, Alan Dessen, and Louise George Clubb (who has coined the term “theatergram” for certain kinds of configuration), we may well reexamine the sources of Shakespearean comedy.

Type
Studies
Information
Renaissance Quarterly , Volume 46 , Issue 1 , Spring 1993 , pp. 23 - 43
Copyright
Copyright © Renaissance Society of America 1993

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adams, John F. “ All's Well That Ends Well: The Paradox of Procreation.” Shakespeare Quarterly 12 (1961): 261-70.Google Scholar
Aristotle, . The Poetics With an English Translation. Ed. and trans. W. Hamilton Fyfe. The Loeb Classical Library. Cambridge, MA, and London, 1927. [with Longinus and Demetrius.]Google Scholar
Baldwin, T. W. Shakspere's Five-Act Structure. Urbana, 1947.Google Scholar
Baldwin, T. W. William Shakspere's Small Latine & Lesse Greek. 2 vols. Urbana, 1944.Google Scholar
Beck, Ervin. “Terence Improved: The Paradigm of the Prodigal Son in English Renaissance Comedy.” Renaissance Drama, n.s. 6 (1973): 107-22.Google Scholar
Bevington, David. Action is Eloquence: Shakespeare's Language of Gesture. Cambridge, MA, and London, 1984.Google Scholar
Boughner, Daniel C. The Braggart in Renaissance Comedy: A Study in Comparative Drama from Aristophanes to Shakespeare. Minneapolis, 1954.Google Scholar
Bradbrook, M. C. “Virtue is the True Nobility: A Study of the Structure of All's Well that Ends Well.” Review of English Studies, n.s. 1 (1950): 289-301.Google Scholar
Braden, Gordon. Renaissance Tragedy and the Senecan Tradition: Anger's Privilege. New Haven and London, 1985.Google Scholar
Branca, Vittore, ed. Tutte he Opere di Giovanni Boccaccio. 10 vols. Milan, 1964-67.Google Scholar
Brooke, Nicholas. “All's Well That Ends Well.” Shakespeare Survey 30 (1977): 73-84.Google Scholar
Bullough, Geoffrey. Narrative and Dramatic Sources of Shakespeare. 8 vols. London and New York, 1957-75.Google Scholar
Calderwood, James L. “The Mingled Yarn of All's Well .” Journal of English and Germanic Philology 62 (1963): 61–76.Google Scholar
Champion, Larry S. The Evolution of Shakespeare's Comedy: A Study in Dramatic Perspective. Cambridge, MA, 1970.Google Scholar
Clubb, Louise George. “Woman as Wonder: Theatergram in Italian and Shakespearean Comedy.” In Italian Drama in Shakespeare's Time, 65-89. New Haven and London, 1989.Google Scholar
Cole, Howard C. The “All's Well” Story from Boccaccio to Shakespeare. Urbana and Chicago, 1981.Google Scholar
Coulter, Cornelia C. “The Plautine Tradition in Shakespeare. “Journal of English and Germanic Philology 19 (1920): 66–83.Google Scholar
Dessen, Alan C. Shakespeare and the Late Moral Plays. Lincoln and London, 1986.Google Scholar
Doran, Madeleine. Endeavors of Art: A Study of Form in Elizabethan Drama. Madison, 1954.Google Scholar
Duckworth, George E. The Nature of Roman Comedy: A Study in Popular Entertainment. Princeton, 1952.Google Scholar
Else, Gerald F. Aristotle's Poetics: The Argument. Cambridge, MA, 1957.Google Scholar
Evans, G. Blakemore, ed. The Riverside Shakespeare. Boston and London, 1974.Google Scholar
Frye, Northrop. Anatomy of Criticism: Four Essays. Princeton, 1957.Google Scholar
Frye, Northrop. A Natural Perspective: The Development of Shakespearean Comedy and Romance. New York and London, 1965.Google Scholar
Godshalk, W. L. “ All's Well That Ends Well and the Morality Play.” Shakespeare Quarterly 25 (1974): 61-70.Google Scholar
Goldberg, Sander M. Understanding Terence. Princeton, 1986.Google Scholar
Hanson, John Arthur. “The Glorious Military.” In Roman Drama, ed. T. A. Dorey and Donald R. Dudley, 51-85. New York, 1965.Google Scholar
Hapgood, Robert. “The Life of Shame: Parolles and All's Well .” Essays in Criticism 15 (1965): 269-78.Google Scholar
Hill, W. Speed. “Marriage as Destiny: An Essay on All's Well That Ends Well .” English Literary Renaissance 5 (1975): 344-59.Google Scholar
Hunter, G. K., ed. All's Well That Ends Well. The Arden edition. Cambridge, MA, and London, 1959.Google Scholar
Huston, J. Dennis. “‘Some Stain of Soldier’: The Functions of Parolles in All's Well That Ends Well. ” Shakespeare Quarterly 21 (1970): 431-38.Google Scholar
Hutton, Edward. Giovanni Boccaccio: A Biographical Study. London and New York, 1910.Google Scholar
Janko, Richard. Aristotle on Comedy: Towards a Reconstruction of “Poetics” II. Berkeley and Los Angeles, 1984.Google Scholar
Jones, Emrys. The Origins of Shakespeare. Oxford, 1977.Google Scholar
Jonson, Ben. Every Man in His Humour: A Parallel-Text Edition of the 1601 Quarto and the 1616 Folio. Ed. J. W. Lever. Lincoln and London, 1973.Google Scholar
Knight, G. Wilson. The Sovereign Flower. New York and London, 1958.Google Scholar
Konstan, David. Roman Comedy. Ithaca, NY, and London, 1983.Google Scholar
Lawrence, William Witherle. Shakespeare's Problem Comedies. New York, 1931.Google Scholar
Lee, A. C. The Decameron: Its Sources and Analogues. London, 1909.Google Scholar
Leggatt, Alexander, “ All's Well That Ends Well: The Testing of Romance.” Modern Language Quarterly 32 (1971): 21-41.Google Scholar
Levin, Harry. Playboys and Killjoys: An Essay on the Theory and Practice of Comedy. New York, 1987.Google Scholar
Levin, Richard A. “ All's Well That Ends Well, and ‘All Seems Well.’“ Shakespeare Studies 13 (1980): 131-44.Google Scholar
McGarrity, Terry. “Reputation vs. Reality in Terence's Hecyra .” Classical Journal 76 (1980-81): 149-56.Google Scholar
Muir, Kenneth. The Sources of Shakespeare's Plays. New Haven and London, 1978.Google Scholar
Muir, Kenneth. Shakespeare's Comic Sequence. New York, 1979.Google Scholar
Ornstein, Robert. Shakespeare's Comedies: From Roman Farce to Romantic Mystery. Newark and London, 1986.Google Scholar
Neuss, Paula. “The Sixteenth-Century English Proverb Play.” Comparative Drama 18 (1984): 1–18.Google Scholar
Parker, R. B. “War and Sex in ‘All's Well That Ends Well.’“ Shakespeare Survey 37 (1984): 99–113.Google Scholar
Parrott, Thomas Marc. Shakespearean Comedy. New York, 1962.Google Scholar
Plautus, . Plautus With an English Translation. Ed. and trans. Paul Nixon. The Loeb Classical Library. 5 vols. Cambridge, MA, and London, 1916-38.Google Scholar
Porta, Giambattista Delia. Gli Duoi Fratelli Rivali/The Two Rival Brothers. Ed. and trans. Louise George Clubb. Berkeley and Los Angeles, 1980.Google Scholar
Price, John Edward. “Anti-moralistic Moralism in All's Well That Ends Well .” Shakespeare Studies 12 (1979): 95–111.Google Scholar
Price, Joseph G. The Unfortunate Comedy: A Study of “All's Well That Ends Well” and its Critics. Toronto, 1968.Google Scholar
Riemer, A. P. Antic Fables: Patterns of Evasion in Shakespeare's Comedies. New York, 1980.Google Scholar
Rothman, Jules. “A Vindication of Parolles.” Shakespeare Quarterly 23 (1972): 183-96.Google Scholar
Salingar, Leo. Shakespeare and the Traditions of Comedy. Cambridge, 1974.Google Scholar
Shapiro, Michael. “‘The Web of Our Life’: Human Frailty and Mutual Redemption in All's Well That Ends Well .” Journal of English and Germanic Philology 71 (1972): 514-26.Google Scholar
Smallwood, R. L. “The Design of ‘All's Well That Ends Well.’ “ Shakespeare Survey 25 (1972): 45–61.Google Scholar
Smith, Bruce R. Ancient Scripts & Modern Experience on the English Stage 1500-1700. Princeton, 1988.Google Scholar
Styan, J. L. Shakespeare in Performance: “All's Well ThatEnds Well.” Manchester, 1984.Google Scholar
Terence, . Terentivs, in quern triplex edita est P. Antesignani Rapistagnensis Commentatio. Lyons, 1560.Google Scholar
Terence, . Terence With an English Translation Ed. and trans. John Sargeaunt. The Loeb Classical Library. 2 vols. Cambridge, MA, and London, 1912.Google Scholar
Turner, Robert Y. “Dramatic Conventions in All's Well That Ends Well .” Publications of the Modern Language Association 75 (1960): 497–502 [see also 79 (1964): 177-82].Google Scholar
Vandiver, E. P., Jr. “The Elizabethan Dramatic Parasite.” Studies in Philology 32 (1935): 411-27.Google Scholar
Vickers, Brian, ed. Shakespeare: The Critical Heritage. 6 vols. London and Boston, 1974-81.Google Scholar
Warren, Roger. “Why Does it End Well? Helena, Bertram, and The Sonnets.” Shakespeare Survey 22 (1969): 79-92.Google Scholar
Wheeler, Richard P. “The King and the Physician's Daughter: All's Well That Ends Well and the Late Romances.” Comparative Drama 8 (1974-75): 311-27.Google Scholar
Wilson, Harold S. “Dramatic Emphasis in All's Well ThatEnds Well.” Huntington Library Quarterly 13 (1950): 217-40.Google Scholar